Beats News

2024 Repress

Hell Yeah kicks off 2024 in fine style with a new album from Australian producer Dawn Again. Every Dog's Hotel is a dreamy and breaks-driven downtempo excursion the artist has dubbed "pubwave."

Melbourne-based Nick Verwey has been crafting solo and collaborative cuts for the best part of a decade on labels like Houseworx and Enjoyment Division. He operates in a world where danceable grooves are paired with laid-back moods. His lo-fi sound is both sunlit and sunset-ready and is for grown-up crowds who like to get down on rooftops, sandy enclaves, or laidback living rooms. This new album, however, he describes as "pubwave" and was conveyed during lockdown when Nick and his friends were missing their favourite communal drinking spots.

"My friends and I were missing the pub, missing dance floors, missing being able to hang out and have fun," he says before explaining that, at the time, he was listening to a lot of 90s and 00s downtempo chill out by the likes of Heights of Abraham, Pork Recordings, Baby Mammoth and Bullitnuts. He came up with the idea of creating something similar but in his own way, initially with spoken word poetry from his friend over the top, though when it came to recording that never quite worked so it was shelved until later when Nick?tried again without the vocals. "The whole project has been more than years in the making. I'm super proud of the end result. I think it still nails the dreamy, Balearic "pubwave" vibe and comes with a gorgeous cover painting by my mate Holly Hunt. It's an old English haunt called the Old Neptune, and what nails the brief more than a pub that is literally on the beach?"

The title track is a welcome opening with leggy breaks and soft shakers encouraging you to sway while gazing up at the melodic stars before 'Foam Party' gets more zoned out with its vaporous chords and gentle drum tumbles. 'Journey Through The Schoonerverse' is a suspensory trip to the clouds with effortlessly loose breaks and painterly synth smears, 'Wonky Friends' has a more weighty but still dubbed out and slow motion house kick and 'Kneverending Knockoffs' keeps the energy rising with raw percussion and acidic twitches that journey through a heat haze on a warm afternoon. Closer 'Backyard Paradiso' is the horizontal finish that washes over you like rays of sun and gently breaking waves to leave you relaxed from head to toe and digital bonus 'Hard Earned Thirst' is an extra chance to luxuriate in Dawn Again's richly layered synths and leisurely breaks.

The superbly welcoming Every Dog's Hotel is a place to pull up, sink a drink, and soak into some lavish and escapist downtempo sounds.

Midwest based Dj Airwalk is slipping his way into a beautiful first vinyl release. 'Break In The Rain' is a soft washing of eras in Jungle's rearview mirror. A backwind shield, covered in a late day Spring drizzle; music to build a rain barrel to. It is a Jungle record that is as pleasant to sit back and listen to, as it is to start a throw back 90's set with.

GARDENIA is an existing land located at the Limpopo province of South Africa, right at the border with Botswana. The place's real name is Mmabolela and it's a private nature reserve covering 6500ha of subtropical savanna and part of Limpopo River.

In November 2019 I had a chance to visit the location and participate in an annual residency for composers and sound artists called 'Sonic Mmabolela', initiated and curated by Francisco López.

We lived in an isolated property in the middle of savanna having a unique opportunity to exist in undisturbed touch with the African wilderness.

For the past decade or so, Polish musician Michal Jacaszek has been exploring a new, resolutely modern chapter in Eastern Europe's long, storied love affair with classical music. His creations are painstakingly crafted collages of electronic textures and baroque instrumentation.

All the natural sounds later used to create Gardenia were captured there — during longtime recording sessions over the virgin interior of Mmabolela Reserve.


The album's field recording content was selected from several hours of birdsong, calls of frogs, insect noises, sounds of trees, bushes, grass as well as non-living natural elements like stones or shells.

These field recordings were later digitally processed and used as part of 9 musical arrangements.

However the recording sources and the location of Gardenia is defined, it was not my intention to document a South African natural soundscape nor create any other kind of strict concept album.

All I do in my work is an affirmation of beauty hidden in various aspects of the Creation. MJ

Zum 25-jährigen Nightmares On Wax Jubiläum veröfffentlicht Warp alle LPs noch einmal neu als edles Doppelvinyl mit Downloadcard im Gatefold mit bedruckten Innentaschen und neuem Sticker. Mit "Mind Elevation" bereichert George Evelyn 2002 seinen bewährten Downbeatsound mit positiv gestimmten Vocaltracks wie "Know My Name" und dem nostalgischen Rap von "70s 80s".

Huge, triumphant return for the man they know as Olsvangèr. This might be the most radiant, life-affirming manifestation of his devotion to trippy dancefloor propulsion.

If last year’s EP with fellow Tofistock co-founder MYKI was the pre-induction, ‘Icy Hookups’ signals his full initiation. Solo manoeuvres from the Berlin-based producer and starts as he means to go on with the buoyant flex and ‘90s nostalgia of opening cut ‘Grand Slammin’. Blissed-out vocals vocoded beyond recognition, this is pure dancefloor jubilation but not at the expense of directness or heft.

Clearly, he’s no stranger to a late-nite tech house incursion either. Where ‘Paranoweed’ comes thru with the tuff, full-bodied groove, ‘Bubble Toy’ recalls the oddball, mescaline-strength tribalism of his DJ Headshot alias. Then, just as uplifting as its predecessors, ‘Quadi B’ shuts things down with a heady, levitational dose of fractal fuel.

12-inch album, Green coloured vinyl, printed inner, 3mm spined sleeve.

Reissue

UK independent imprint, Lo Recordings have announced that they will release a new compilation album on the 9th of July 2021.

‘Spaciousness 2’ has been put together by label founder Jon Tye and is the second volume in a series of records ‘that seek to explore the connections, the overlaps, the roots and the future of a music variously referred to as ambient, deep listening, new age, fourth world and post classical’.

For us at 1985 Music, our Various Artists series are extremely important. It not only provides a great platform to celebrate music from a wide range of artists, but it also enables us to push the parameters of underground music. We are very excited to share the third and final part of our Atlas series which includes both new and familiar faces.

Vid has grown to become a driving force in the contemporary minimal house scene in recent years both on his hometurf, Romania one of them most important regions for this sound, and across the globe. Racking up releases on the likes of Pleasure Zone, Andromeda, Brouqade and of course Sound Of Vast where he returns here for his fourth EP on the imprint.

Title-track 'Life Of Dreams' leads, laid out over thirteen minutes with murky atmospheric textures, warbling sub bass tones and eerie voices ebbing and flowing amongst a dynamic arrangement of organic percussion. 'Povestea Ei' follows, rhythmically shifting things in broken territory via jazz-tinged off-kilter drums while poetic spoken word vocals, modulating synths and stuttering bass tones further fuel the mind-altering feel. 'Povestea Mea' then rounds out the release, this time round embracing a cinematic feel and employing emotive strings, bubbling synths and minimalaistic pops, clicks and whirrs at its core.

"In the core of the album’s creation, lies my fascination with unveiling the piano overtones by harnessing the properties of complex systems, which emerge when competing oscillations of strings interact with room acoustics, microphone placements, the piano's pedals, and its soundboard. Through long forms, incremental gestures, and nuanced timbral artifacts, the album aims to distort the perception of time and invite an introspective experience of multiple and expanded temporalities." - Zoe Efstathiou.

Zoe Efstathiou, pianist and electro-acoustic composer, originally from Greece, has lived in Sweden since 2015. Her interest shifts between the intricate relationships of the overtones of acoustic instruments, electro-acoustic textures, and the sonic potential of light installations. Her music interpolates the momentary with the ever-evolving, exploring ideas related to time, expectation and memory.

ØYR is the fourth release from the Oslo based 'Lomas Productions' consisting of musicians/producers Lars Mellgren and Thomas Hauge. The Norwegian duo has been composing music for 20 years, exploring various musical paths and recording styles. Their 2020 release Coastal County soon became a sought after Discogs treasure.

Being the duo's first ambient record, ØYR is a 5 piece installment experimenting with blending electronic soundscapes and analogue recordings. The work encompass sonic landscapes that can be described as meditative but also has room for noise and the post-apocalyptic.

Arts Gallery was born from the collaboration of two very talented minds. Asmar & G inst 2x12" Package is unique, each of the two artist present themself in their own space, this space is also shared in another bigger territory, Arts Gallery. Alchemy is a kind of philosophy: a kind of thinking that leads to a way of understanding. This Duchamp quote describe really well this record.

(Umwelt & Sonae Remix)

For the very rst time Blintmusik welcomes two artists to remix tracks from the label’s back catalogue. Keeping the tradition of two tracks per release - on the A side we meet the french grandmaster of Electro, Umwelt. His remix of ‘Chauncey Street‘ is a pure dark whirlwind with bitter-sweet synth-strings oating over a set of forward pushing drums
and a drilling bassline. On the ipside is Sonae, best known for her immersive albums on labels like Monika Enterprise.

Her Remix of ‘92 Avenue‘ opens the gates to a distorted synth-utopia. In a total deconstruction, the Cologne based artist turns the original club banger into a nightmarish noise staccato which spirals down your spine before dropping into a heavyweight kickdrum-inferno. Truly unsettling club music at its best.

Floating World Pictures is a 'Loud Ambient' project led by Chestnutt, producer & member of Snapped Ankles, and graphic/sound artist & instrument builder Raimund Wong.

For this new release they have come together with producer Ocean Moon (AKA Jon Tye) to create a heady brew of deep, resonant sonic exploration, spanning two sides of a beautiful limited cassette release which will be available via Lo Recordings on 14th June 2024.

Mystical, new age, ambient soundscapes born of psychic improvisation and excursions into worlds lost in mist, intertwine seamlessly with fragments of found dialogue, melodies and environmental sounds, cassette tape loop manipulations, live dub/effects and analogue synthesis. The cassette album comprises two singular but wholly complementary sound projects:

‘Look Now For The World Is Shining Bright’ is a suite of 4 tracks, all of which contain elements of music featured on the band's debut album ‘The Twenty-three Views’ (Friendly Recordings 2022), performed by Chestnutt, Rai Wong, Alabaster Deplume, Akihide Monna, Charles Prest, Cathy Eastburn, Kamal Rasool, Danalogue and Clémentine March with additional keyboards, collage and composition by Ocean Moon.

‘Have You Met Your Maker?’ was recorded as a trio one day in August 2023, at Ocean Moon’s Cornwall studio The Centre Of Sound, Maker Heights. Amidst the wind, rain and occasional sunny outburst they create sensuous deep dives between light and shade, with soundscapes filled with tape hiss, sweeping reverberance, field recordings from around Maker and angelic mood music; delicately weaving a web of movement and brightness with sounds of eternity that dissipate all negative thought patterns.

Kode9 und Burial melden sich mit brandneuer, exklusiver Musik auf einer Split-12" auf fabric Originals zurück. Sie folgt auf ihre 2018er Zusammenarbeit für die historische Mix-Serie, die als letzte FABRICLIVE-Veröffentlichung die 200-teilige Mixed-Comp-Serie abrundete. Die Standardauflage erscheint auf schwarzem Vinyl mit 3D-Fabric-Logo auf der Coverrückseite.

Mon Goose is multi-instrumentalists Yegang Yoo and Robert Lombardo (both ex-Alex Delivery Jagjaguwar). Flowing seamlessly between dance grooves to experimental soundscapes, their songs twist and turn melodically through dense layers, animated by inventive live percussion and a creative melding of electronic and acoustic sounds. A Seoul-native trained in classical piano and composition at an early age, Yegang transplanted to New York City in 2000, where she and Robert began playing music together. Robert's history spans from playing guitar and drums in garages and basements, to the rabbit-holes of experimental and dance musics, to the present where he pulls from all of those influences in the music of Mon Goose and as a sound designer and composer for films.

Very Still Right Now lives in the intersection of music to listen to and music to dance to. Showing influences from space disco (stand-out track “I Feel Goose” is gloriously remixed by Lindstrøm) to Krautrock to techno ... to soundtrack records ... to classical ... it shifts and turns, sweeping you unaware from the disco dance floor to the melancholic high seas with a unique ability to contain, expand, and gradually distort moods without sacrificing a sense of lightheartedness. The album is the culmination of several years’ work from the duo, tangled in the wires of an arsenal of analog gear in their basement studio in Greenpoint, Brooklyn, and is the first offering of much to come.

An official re-issue of the 1996 album, Beyond the Circle, from Dr. Osamu Kitajima presented by Forest Jams on vinyl for the first time.

As the title suggests, Japanese music explorer Osamu Kitajima takes the listener beyond the known on a musical voyage into new territory where his compositions are a synthesis of Western electronics and ambient dance rhythms, tempered by the wisdom of ancient Japanese traditions. "Beyond the Circle" is music that is as energizing as it is spiritual and melodic.

DIY tape manoeuvres, sending esoteric dub waves down from the magnetic north.

Straight from the studio in Glasgow. Everything done in-house. Hand stamped body. Printed the covers etc

Weirdo dubs from ambient to drone with experimental electronic cuts that occupy some frighteningly smoked out alleyway between the club and the cemetery. With a sweet spot of obscure but inclusive dub, with the kind of ambient bits that sound like ancient mythology.

Suburban Architecture are pleased to announce the second in their 'Architecture Dubs' series of limited edition 10" vinyl releases, which sees some of the most revered names active during the mid 90s golden era of Drum & Bass deliver remixes of Suburban Architecture material in homage to that most innovative of periods. Following on from the now sold out release of Architecture Dub #001 (featuring remixes from Peshay and DJ Trax), #002 delivers new remixes from two further legends of the scene, Blame and DJ Trace.

Blame has enjoyed a storied career in the genre, having released extensively on two of the most highly regarded 90s imprints, Moving Shadow and LTJ Bukem's Good Looking Records, before establishing his own imprint 720 Degrees. For this release Blame tackles 'Visions '96', a favourite from Suburban Architecture's now highly collectible debut EP, 'Visions', introducing a jazzy bass groove, rousing vocals and energising breakdowns to the Jazz Fusion sonics of the original.

DJ Trace is another name who needs little introduction. With seminal releases on highly regarded underground labels Lucky Spin and Dee Jay Recordings among others, Trace's work joins the dots between early Hardcore, mid 90s Intelligence and the darker sounds of the late 90s. His remix of 'Future Jazz '95' is a stripped back, stepping rework that will please fans of his classic tracks 'After Hours' and 'Miles High'.

Pressed on 10" vinyl and housed in brown Kraft paper sleeves, the series makes visual reference to the exclusive dubplate pressings which introduced so many classic cuts to the UK's dancefloors in the 90s.

Experience the sonic journey that is The Black Dog's latest album, "Other, Like Me," as they delve into the intricacies of the artist's psyche, questioning the very essence of individuality and creative worth. The album invites listeners to confront darker thoughts about self-identity, imposter syndrome, and the relentless pursuit of creative value, all while celebrating the joy found in the act of artistic creation. In this introspective exploration, The Black Dog challenge both themselves and their audience, creating a musical experience that is profoundly personal and open to interpretation. The themes woven throughout the album are a poignant counterpoint between the shadows of self-doubt and the exuberance of creative expression. It's an inward exploration, offering a place of solace for listeners to find comfort amid the chaos of external influences. The album's title, "Other, Like Me", draws inspiration from an interview with Cosey Fanni Tutti in 1999, resonating deeply with The Black Dog's outsider perspective. The phrase encapsulates the essence of the album, reflecting the band's unique identity and shared experiences, while respecting each member's individual passions and interests. Navigating the waters of cognitive dissonance, The Black Dog bring an authenticity to their music that mirrors the internal and external conflicts of the contemporary music scene. With a commitment to stripping back layers and allowing the heart of each song to shine through, "Other, Like Me" offers a raw and unfiltered musical experience that speaks directly to the soul. It's an invitation to introspection, a celebration of independence, and a testament to the power of authentic artistic expression.

EDNET001 is a hard hitting take on high octane modern electro and UK Bass by british prodigy Tom Place, Shedbug remixing. Checkpoint reached, Eavesdropper Network has entered the game. EDNET is an Echocentric Records operation.

2024 Reissue

Alphacut Records reloads its third wave with an upfront jungle plate. Meticulously selected over the years since the last allover amen statement Fundamentals EP as of cat.nr. ACR 3001, these four new killer tunes take no prisoners as well.

Sumone (with his Planet Mu fame) and Dan Miles (formerly Skubi like on Modern Ruins) as the midwest cowboys meet the North Sea sailors Istari Lasterfahrer (running his Sozialistischer Plattenbau) and Ill_K (on Nord and re:st)to execute this smashing Darka Mentors EP!

"Wicked Man Sound" is one of the most sinister jungle sciences we came across lately. Choppage on point, layerslike spread, stabbing basses, dark percussion, oldskool pads - you name it. "Crash!" feels like a UK hardcore banger, but is refreshingly switching breakbeats instead of gabba kicks. "Echo Chamber" drops an irresistible rave stab into the dubber dungeons and "Kuro" celebrates a very samurai style of a halftime cut to round up this breaksfest menu with ease.

Alphacut operates on a non-profit level, most releases cover their costs, if even. Half of any returns will be donated to Webster's Amen Break Gesture campaign II raising funds for the original creator of The Winston's Amen Brother breakbeat: Richard Spencer. With the deepest respect for this milestone of a sample!

alphacut sets off into brushy tribal jungle

the early 2010s have been a prosperous era for a lotta fast dance and bass music. dubstep's magic was fading due to brosounds taking over but the idea of some fresh air inbetween drums and basslines was thankfully carried on into the jungles too. not only halftime but also tribal beats grew strong, whether it being in warm dubby or cold darker reincarnations.
speaking of living on, this plate is not only a sequel to that era but also a tribute to the one like morphy, who brought dubby tribal brushy jungle onto alphacut around that time. it light up a spark to head for new territories, its soul is vibing on in 45seven and especially in this new alphacut - post morphem!

rude operator are opening with a minimal dancehall feel, wriggling from 8bar to 8bar, switching tensions with patterns with a slice of footwork dna inside - zero chances to freeze!
rainforest is stepping on with enlightening skanks and mystic basses under a riddim one simply can't escape as well.
paradox effects is not only flipping sides but vibes pretty much too. keeping it tribal and one-seventy but much darker with an amen from the vaults in a bunker-conrete jungle - the raw and free sound of leipzig.
dreadmaul is closing with a masterpiece which could have been executed by the homaged dubbing don himself. moody pads meet distant dub sirens and robotic amen leftovers step up into a hypnotising groove, taking you back down in the woods.

we are happy to be back with a solid round-up package which should never leave your tribal crates again, zooom!

Yo Speed released their debut in digital format on the Distorsion Records in 2016. Since then their sound has gradually evolved, as their productions have served to mark a turning point in today's Breakbeat sound, making them a leading name throughout the genre on the international stage. As you would expect, their first solo vinyl release comes courtesy of the label where they first started out.

On this first disc, DIST001 in the new Distorsion Records physical catalogue, entitled 'Free Ur Mind', Yo Speed offer us a collection of three tracks with a clearly defined approach. Penetrating subwoofers create an enveloping cushion of rhythms laden with swing and groove, twisted but elegant base sounds that will have you dancing from the very first beat. Ambient and vocal sound effects which end up holding you captive, subconsciously inviting reflection. A clear message, sonic purity free of superfluous flourishes, to release the mind on the dancefloor... And to round things off, Man Of Speed, one of their classic tracks representing the sound of their initial creative phase.

Mastered and cut by Simon Davey at The Exchange Vinyl, with artwork by Timur Khabirov, complementing a disc of great quality in every aspect.

2024 repress

Acen's Trip To The Moon series is simply unmissable, and these color vinyl represses are severely limited in number. Spanning all the original mixes, plus new material and new remixes from the likes of Pete Cannon, Danny Byrd, Phuture Assassins and Scott Brown, every EP in this series is essential.

Budapest’s Alley Catss wants m Helux to serve as both a new station in their work and an homage to the new age-influenced and sample-heavy synthesis of previous albums (such as 2020’s "compassion & paralysis", 2016’s ℶ, or 2021’s "exophage"), and it already feels like a genre unto itself: Absurd Ambient. Inspired by the emptiness and silliness of theatrical sets left empty, devoid of action, still and incomplete, m Helux is an awkward place of bleak humour; poured over and yet frozen.

Produced by Máté Janky over the course of late 2023 through to early 2024, this is an unpredictable collage of hefty symbolic audio mysticism, 90s sampling, dub influences, fractured R&B vocals. It’s nonetheless interspersed with the knowing cheesiness of new agey bells and chimes, at times cut up to cartoonish levels, melding their most laughable and wonderful connotations.

Influenced by the likes of Klein, Alley Catss’ collaging and sampling techniques seek to sonify utopic scholastic visual concepts –poking a dose of fun at them along the way.

These seven tracks shimmer and shake, but never rumble. Alley Catss’ sui generis approach creates a beautiful parody of reference genres. Myriad tropes are desiccated and reworked into an exquisite corpse of blissed out sounds and voices. This is maddening music that’s monstrous and pretty, often all at once.

AKO Arcade once again drops an unmissable slice of deep and heavy jungle. A perfect summer vibe whether on the dancefloor or chilling in the sun, this EP is incredible, pure jungle bizniz. Heavenly indeed!

Bristol-based producer and DJ 'Drone' present his album on 1985 Music. This 13-track long play, like his previous releases, continues to push the boundaries of underground dance and grime while retaining a sub-heavy, 808-laden coherence within his productions and selections, as anyone who has caught one of his sets can attest to.Since his first release on the imprint in 2020, Drone and his productions have grown from strength to strength. His debut EP ‘Evil Sky’ in 2021 received critical acclaim and support from all the leading figures in underground dance. His production work blurs the boundaries of trap, grime, and dubstep while enjoying support from the likes of Mala, V.I.V.E.K, and Kahn, it seems Drone’s inimitable sounds are becoming favoured by both scene stalwarts and club-goers: an admiration which looks set to grow as he continues to produce thoughtful and original music that promises a reaction in the club. ‘All I Know’ feat. Nottingham’s rising star Snowy kicks off the campaign and is a track that dominated the 2022 festival season. Calling on fellow production friends, this album also sees collaborations with label head honcho Alix Perez, Notion, Hyroglifics, and Deft. Kicking off 2023, Drone undertakes his first North American tour with a month of back-to-back performances and showcases of his new music ahead of release. He returns to the UK with a very special album launch party in his hometown Bristol before taking the party to the capital in early March.

Throw the gauntlet: Fast Castle is back with Gent1e $oul’s “Shoals”-EP, our furthest excursion into the unexplored depths of mind-bending bassweight! Having perfected his build order on his recent “Block Printing'' and “Silk Armor”-EPs, Gent1e $oul continues to infuse his productions with sonic bass strategies over five versatile tracks.

“Dark Age” provides an aggressive opening, immediately applying pressure with nasty bass wobbles, dembow echoes and a 4x4 switch that might catch distracted players off guard. Tried and tested in many settings, this is an essential option for the incoming dancefloor rush!

With its heavy neo-stepper energy, ”Bad Neighbor” lays siege to dancefloor resistance with a piercing lead, breathing drums and powerful waves of sub wubs. Just like the AoE2’s legendary trebuchet of the same name, “Bad Neighbor” – paired with the right Soundsystem – will make the walls shake.

“Dusty Acer” is a homage to Gent1e $oul’s dear but aging AoE2 gaming machine, capable of producing similar noises to this dark UKG cuts’ central bassline.

Deep dubstep cut “Illumination” takes us to the for a wholesome mana refill: Mystic ambiences make you pull down your cowl, before diving into a fully blown sub massage.

The standout self-titled cut “Shoals” concludes the release: A deep-yet-powerful half-stepping perc grower at 160bpm, operating on subdued rhythmic shifts and layers.

As a special tribute to the AoE2 community, all tunes are flavored with the game's original sound effects. Thanks for keeping us inspired, Nili_Aoe for NAC5 and T90 for HC5!

Shadows Lifted from Invisible Hands is an autobiographical record, comprised of four songs that Hoff refers to as ambient media. Each track is composed from sources drawn from his own involuntary aural landscape, specifically musical earworms and tinnitus frequencies.

Neither sound nor a daydream, the earworm (or stuck song) emblematizes music as a commercial form—immediate, ubiquitous, and persistent. Likewise, tinnitus is inaudible and unscrupulous, manifesting across a spectrum of frequencies at will. The cognitive swirling of these phenomena provides an ambivalent, internal soundtrack that scores a person’s movement through the world.

Those suffering from tinnitus or those who have grown accustomed to the “Tinnitus Effect” in movies will likely recognize the buzzing pitches on the record, but will likely not recognize the songs. Distorted and distilled, Shadows Lifted from Invisible Hands features altered versions of four commercial pop songs: Blondie’s “Heart of Glass,” David Bowie’s “Space Oddity,” Madonna’s “Into the Groove,” and Lou Reed’s “Perfect Day.”

Having been haunted by these songs on and off for years, Hoff tweaks the tracks, transposing and recomposing them for orchestral instrumentation. Speaking back to these involuntary echoes, these tracks go to great lengths to obfuscate their sources; to be sure not to simply re-introduce each earworm, as though they were samples. Otherwise, what’s the point? No one needs another stream.

Besides, earworms are not music, although we perceive them as such. They are non-cochlear and exist as an affective force that is neither subjective nor objective, which is to say they are an invasive—and alien—phenomenon. Like tinnitus, they are aggravated by economic, social, and environmental forces as well as emotional states, mental health, and aging. Hoff doesn’t underplay his own struggles with mental health in discussing the record—noting a long history of depression and its acuteness over the last few years, which serve as the backdrop to the composition of this record.

Scratch any pop song hard enough and you’ll find sadness underneath it. Subdermal, the songs on this record evoke a type of ephemeral weariness and despair. By recasting the original songs through their shadowy doubles, Hoff provides a window into the dark core of pop music. At the center of which lies capitalism’s desperate attempt to replicate itself through a cheap high built on echoing refrains. Just below the surface the listener finds a hangover of shadows dancing through the mind.

VROMM returns to Over/Shadow with a second helping of cosmic electronica and this time Kid Drama jumps on the buttons of lead track Molecular to provide a rolling, stomper of a remix.

Rbia Harsha Cinta is a dark and experimental reworking of Gilles Aubry's recent film on seaweed and pollution in Morocco (Atlantic Ragagar 2022). The film's dreadful atmosphere of environmental devastation is transposed into a haunting soundscape of analog textures and naked rhythms. With its title referring to endangered seaweed species, Rbia Harsha Cinta comprises eight tracks that pulse and breathe with a post-natural intensity.

YRLNG is a new project by Gilles Aubry dedicated to ambient and deconstructed club music. Aubry's distinctive presence in the field of noise and experimental music is marked by his numerous contributions using field recordings, electronic manipulations and feedback processing. He is also known as a member of the Berlin based noise collective MONNO who released five albums between 2003 and 2015. As a sound artist, his practice spans a broad range of media including film, installation, radio and performance works.

hand-numbered random coloured vinyl LP limited to 50 copies (cannot guarantee colour customer will receive)


Given the respective outputs of committed ambient explorers and sound designers zake (best known for releasing no less than five fine albums in 2019) and 36 (most recently seen on A Strangely Isolated Place with the superb album "Fade To Grey"), you'd expect this trip into aural deep space to be rather good. It is of course, with the four tracks mixing echoing sonic tones and drifting sound effects with slow-burn electronic melodies and the kind of immersive, sustained chords that were once the preserve of German maestro Pete Namlook. The third track in the suite, appropriately titled 'Stage 3', is little less than stunning, in part because of its grandiose, almost classical intent. No surprise to discover, then, that after a stretch of being out of print it's back via a reissue, this version being a limited clear vinyl edition.

Limited 12" vinyl only release. Run of 500. 140g black vinyl. No repress, no digital.

Dali Muru & the Polyphonic Swarm (formerly known as FITH) sit in a venn diagram of troubadour poetics, cinema soundtrack, and primordial electronics.

"We drew a map of the road trip together. A green line from Bambi across the Danube to the Carpathians. A fairy tale animated in technicolour, unfolding in slow motion. All protagonists hovered slightly off the ground. The soundtrack of Transcarpathia and a whirling unresolved hum. A disembodied camera flies thru a bartak forest; it sinks down on a nest of wild mugwort..."

Warehouse Find!

Don Pascal’s new album The Mindelo Experiment, a fusion of Cape Verdean jazz and Broken-Beat. Features original recordings alongside remixes by Afronaut, Atjazz, EVM128, Haze City and Karmasound. Already getting support from the likes of Patrick Forge, Kev Beadle, Colin Curtis, Lefto, Laurent Garnier, Rob Luis etc

Soul Ex Machina is proud to announce its first vinyl release, featuring a hot three-tracker from Prague based producer with Slovak origins - EchoBoy. His background in digital reggae, as a former half of the Riddim Tuffa duo has clearly left its mark on the foundation of his current production. Delving in contemporary sounds from the deeper side of dubstep, infused with strong roots and dub influences, while keeping a steadfast focus on the current production standards. The EP is a testament to EchoBoy's skill as a producer, demonstrating his ability to weave together diverse elements into a cohesive result that is both innovative and deeply satisfying. The three tracks on "Roots of Dub EP" showcase his unique approach to his influences.

2024 Repress

We have done a small repress of this mega Ellis Dee release that came out originally on his CAT Label in 1994 and was repressed by us in 2021. This has been sold out for a very long time but the demand has built up, so we have decided to repress one more time.

Archeo Recordings is a record label. Old, lost, obscure and forgotten gems and a boundless focus on the new Balearic scene for a wider audience of collectors, DJs and music lovers. All releases are limited edition.


This release is 350 copies limited edition: 12"" with 4 new special Remixes by Hear & Now, Manu Archeo, Mushrooms Project and Ocean Moon + CD with 6 previously unreleased Original songs + Insert.

For the latest essential offering from Archeo Recordings, Infradisco harness the power of the Po, serving a six-part suite inspired by the life giving power and natural beauty of water. An immersive journey through balmy downbeat, Balearic melancholy, smooth jazz and subtle house, the ‘Aqua Cheta’ CD comes accompanied by a diverse 12" of remixes from Hear & Now, label head Manu Archeo, Mushrooms Project and Ocean Moon. Album opener “Caduca” evokes the energy of an Umbrian waterfall, its spheric bassline growing ever more acidic before falling away as focus shifts onto the misty pads and plangent guitar.

The gentle bossa rhythm of “Dulcis” transports us to the confluence of the Rio Negro and the Amazon, where a snaking bassline underpins beguiling horns and subtle Sade-sque chords progressions. On “Fluminea”, the trio return to the heart of Reggio Emilia, following the fluctuation of the river Po, which runs past their studio, in an exquisite example of tension and release. Awash with emotion, both via the piano and redolent woodwind, this heady track intersects melodic house and Balearic trance, prompting horizontal dancing and skyward gazes. The tone shifts through the pensive and propulsive “Marina”, a sax led masterpiece accented with gorgeous acoustic guitar, before the tabla beat and emotive sitar of “Pluvia” add intensity to a slow-flowing piece of progressive house.

The CD closes with the cinematic splendour of “Surgiva”, an expansive ambient composition which sees delay-drenched fretwork tug at our heartstrings.

Back in 2016, Lars Bartkuhn was on a quest to expand his musical horizons. Inspired by the idea of the desert as a transformative place – an alien environment whose combination of vastness and beauty challenges those lost within it to first find themselves before they can find a way out – he loaded up his sampler with sub-Saharan samples and set about making two 12” singles, ‘Nomad’ and ‘Massai’, which subsequently appeared on Utopia Records.

Following completion of work on his 2023 album Dystopia, a conceptual ambient meditation built around electronic and acoustic improvisations, the German musician and producer decided to return to the core ideas that inspired those two 12” singles. Once again, he wanted to challenge himself, explore the more exotic side of his musical influences, and discover a course through the musical desert to ultimately become a better musician, producer, and composer.

The result is Nomad, an album that not only brings together two sides of his work – the immersive ambient explorations at the heart of Dystopia, and the club-focused rhythms that marked out his early career deep house explorations – but also draws on a familiar palette of influences, from Latin jazz-fusion and the deep jazz brilliance of ECM Records releases, to the ‘fourth world’ works of Jon Hassell and the African music that had initially inspired the ‘Nomad’ and ‘Massai’ singles.

Searching from the start for a more ‘analogue’ sound – hand percussion, kalimba, piano, voice, bass guitar, acoustic and electric guitars, alongside the modular synth sounds that were such a part of Dystopia – Bartkuhn combined improvisational and traditional composition techniques, painstaking editing, tweaking and reworking tracks over an extended period.

Added to impeccable sound design – even the more dancefloor-focussed excursions are optimised for headphone listening – the results are startling, even by Bartkuhn’s impressively high standards.

There are, of course, radically reworked versions of previous singles – a sun-kissed, Brazilian jazz-fusion informed re-invention of ‘Transcend’ (where Bartkuhn offers nods to another musical hero, Pat Metheny), an expansive, solo-laden take on ‘Nomad’ and a ambient inspired re-recording of ‘Massai’ – plus the kaleidoscopic brilliance of 2021’s ‘Every Morning I Meditate’, but far more never-before-heard highlights.

There’s the 6/8 time, Latin-tinged sunshine of ‘Back To My Innerself’, a track built on organic performances that were improvised straight into the sequencer; the meandering, densely layered sound world that is ‘Flame’ (a tribute to ECM recordings of the 1970s); the lightly techno-influenced fourth world futurism of ‘Ghibliman’; the organic deep house bliss of ‘African Skies’, where Bartkuhn’s vocalisations come to the fore; and the slow-motion ambient house of ‘First Kalimba’.

Nomad, then, is an album that effortlessly showcases Bartkuhn’s unique musical personality and ability to craft warm, colourful sound worlds – some rhythmic, others not so much – while neatly sidestepping categorization. It could well be his strongest and most personal musical statement yet.

Over the past four years and under his Tyresta alias, Nick Turner has been integral to operations at PITP's sister label, Fallen Moon Recordings. His meticulous curation for FMR showcases top-tier sound collages and experimental electronic music and that dedication shines in Lia Kohl and Daniel Wyche's latest release, 'Movie Candy. It's a captivating exploration of free-spirited electronic music that seamlessly blends cello, guitar, synths, voice, field recordings, and electronic treatments into a record that brims with both nostalgia and innovation. Wyche describes it as an homage to the obscure ephemera of films-like the allure of candy wrappers and the mesmerising cinema carpets-forging vivid memories that linger and evolve through time.

If you're reading this then you will know that Instinct is one of the UK's powerhouse garage labels. Run by Burnski aka James Burnham it deals in serious tackle for rude boys and nasty girls. The drums hit hard, the reversed bassline burn goose old school cool and there gun finger salutes come think and fast throughout this EP from Mance. 'Checkpoint' opens with the dusty drum shuffles and bulbous bass, then 'The Going Is Rough' is a little more soulful and sweet with its rolling basslines and silky pads. 'Beat 93' closes down with a seriously OG garage sound that takes you back to the mid-90s.

The third installment of our four-part 12" series features our favorite artists from around the world.

Melbourne's Pugilist opens the gates with 'Flip Trix.' It's a dub-drenched, broken techno hybrid with earth-shattering low-end throughout. This lengthy 130bpm track, with foggy breaks and frosty pads, smartly concludes on a 4x4 beat to ensure a smooth exit. 'Flip Trix' is certainly a future percy for all.

Next, we have Bristol-based Henry Greenleaf, a music producer who provides jaw-dropping moments throughout his work. 'Stopper Knot' starts off with a murky low growl and soon evolves into a fully-fledged UK techno beast with ups, downs, twists, and turns. It's like the soundtrack to all of existence captured in 4 minutes and 37 seconds. An absolute tune.

Closing out the release, we have a very special track from Ebb, a resident of New Zealand's South Island. This tune comes with a Product Safety Warning. *We strongly advise never listening to this tune in small groups or while sitting down. 'GTAM' is a weaponized, peak-time, world-ending, acidic bass mutant designed for use only between 2 am and 4 am*. In true Ebb style, heavy and precise production.

Enjoy responsibly.

2024 Repress

"Rumblism is the reason why this beautiful piece of plastic was made in my opinion. Its a fast and furious rushy track with a quick pace, extremely high pitched hands in the air keys, and plenty of chipmonk squeeks saying "Like this". Theres plenty of inspired change ups in the presentation of the main riff to keep you begging for more. Theres nothing to complain about with this track, its just so very good."

Originally released back in 1992, these tracks were written by Krome & Time whilst they were on Suburban Base and before they started Tearin Vinyl. This has been sold out for a very long time but the demand has built up, so we have decided to repress one more time.

Blending elements of twisted electro with the refreshing sound of early 90's rave culture and IDM on the highly anticipated debut album from Breton artist Voiron (a precious gem in the French underground scene). 'Ingenieur du Son' features 12 bold tracks in Voiron's unique style which is evident in every piece. Uncompromising in his approach, Voiron stays true to his vision without being swayed by external influences. From light and upbeat dancefloor tracks to experimental "idm" sounds, Voiron is for everyone... Embark for Voironland! (But don't hesitate to long as the vinyl release is limited!!) (Artwork by Acid Hazel, Berlin). Tip!!

Aleksandra Słyż is a Polish composer, sound designer and sound engineer currently residing in Stockholm, Sweden. She has soundtracked and created sound design for multiple films, worked on various installations, and composed music for different ensembles. She has performed at many experimental music festivals, including Unsound Festival (Krakow), Ephemera Festival (Warsaw), Avant Art Festival (Wroclaw), Between Festival (Stockholm), Idealistic Festival (Copenhagen), Kiev Music Fest (Kiev), Open Source Art Festival (Sopot), Sanaatorium of Sound (Sokolowsko), UNG Nordisk Musik Festival (Pitea) and others.

Aleksandra Słyż joins Warm Winters Ltd. with A Vibrant Touch, her second full-length album. While her debut Human Glory released by Pointless Geometry explored two distinct approaches and techniques, here she finds her unique path forward: finding connections between acoustic and synthetic sounds, creating rich drone structures, slowly but intensely pulsing and resonating within the surrounding space and within each listener. "I am very much fascinated by the processes related to the body sensations experienced through sound and its movement. I have always perceived sound as a physical phenomenon, travelling as waves of energy, as vibrations which we can literally feel and physically experience," she shares. "Therefore, from the very beginning I wanted to use recordings of specific acoustic instruments, which in my opinion beautifully represent the motion itself." Joining Słyż and her modular synthesizer on A Vibrant Touch is a quartet of musicians playing violin (Kosma Műller), viola (Kamil Babka), cello (Anna Szmatoła) and alto saxophone (Marcus Wärnheim).The three pieces on the album explore the physicality of sound of these instruments – like the way a finger or bow presses down on the string of a cello, or the air pressure in the saxophone when someone blows inside it – as they intertwine with expert navigation of modular synthesizers by Słyż. Drawing on the work of 20th century spectral composers like Grisey or Scelsi, just intonation, drone music and microtonality for inspiration, the Polish composer uses dissonance, tension and pulse with incredible grace and power. She opens the proceedings with the patient, gliding and stirring piece "Healing". "The Ruthless Act" is slightly more ominous and grainy, as the cello and modular synthesizer mimic each other's movements to disorienting effect. The final piece "Softness, Flashes, Floating Rage" is a monumental composition lasting almost 26 minutes, a crowning jewel of the album. Słyż and the instrumentalists are exceedingly patient as the piece slowly unravels into a brutal, heart- and ear-shattering climax. It's a testament to her compositional prowess, that a piece of this length is imbued with so much weight and elegance.

Ezra Feinberg's third album Soft Power sees the composer-guitarist enlist an impressive array of fellow musicians including Mary Lattimore, David Moore (Bing & Ruth), Jefre Cantu-Ledesma, Robbie Lee and share the life affirming lead single 'Future Sand'.

Defined by its abundance of melodies, repeating figures and ecstatic improvisations, Soft Power exudes an enlightened and transformative spirit to empower the listener. Feinberg, a practising psychoanalyst and former founding member of the San Francisco psychedelic collective Citay (Dead Oceans / Important Records) resides in the artistic enclave of upstate New York's Hudson River valley. Initial recordings emerged in the late summer of 2020, before added synthesis with collaborator John Thayer (Arp, Sunwatchers) during early 2021. Soft Power follows previous albums 'Recumbent Speech' (2020) and 'Pentimento and Others' (2018).

Feinberg artfully transcends the listener to an enriched place, his compositions distinguished by the deep humanity that lies at their core, plugging the listener into a state of wide eyed being, open and alive. Soft Power then is Ezra's own mantra but also one of power giving - a colourful catharsis translated into music.

Feinberg's music always speaks to the listener, but Soft Power, in whispering, speaks loudest.

"Much like everyday life, I wanted to convey these very plain, simple, tranquil, nearly quotidian aspects, but each piece contains this arc in which that form expands, is broken out of, so what starts out like a painting of flowers in a seaside motel turns into a riot of color and sound, or you feel slipped into a dream that feels like it could go on forever"

Let's lower our heads in gratitude and move our feet in elation, it's the resurgence of Jennifer Touch on Riotvan. We've witnessed her dropping a substantial cycle named "Feeling C" on the label a couple of years ago and just praised her contribution to the second "Familiar Faces" Compilation. Now it's time for her second artist EP on the label, and what a display of evolution and further refinement of her unique style it is!

Michel Banabila is an indispensable part of the Dutch experimental music scene, where he has acquired a special place with many, in the 40 years that he has been releasing music. Michel is also just as active as a composer for the theater and ballet world, as well as for TV productions, to considerable fame. The threat of drowning in the sea of his oeuvre is real in view of the unprecedented amount of output, but once sailing unmissable monolithic rock formations loom up rapidly. 'Echo Transformations' is one of them. It's a magical album, where everything falls into place in a rich domain inspired by the Fourth World dimension. A world of sound arises from our imagination, stimulating the senses. A concept album where every sigh has its place and where no superfluous tone can be heard. What remains is to embrace the inevitable surrender that accompanies unstoppable change. This is Banabila at his best.

Random Numbers is proud to present the latest release of fellow Italian Steve Pepe, real name Manuel Cascone. A?er a couple of brilliant EPs on Hivern Disc and Macadam Mambo, we are honoured to have him over for the album that has already enchanted us.

“Arabia per Delfina” opens the dance with a languid sound, which slithers in slowly but persistently. Protagonist is a solitary synth whose bright and sensual frequencies rise from the darkness, lighJng up the room like the sultry moon in the summer nights.

The Arabic influence is clear, supported both by the Jtle and the sonic Jmbre: anything but stereotypical, is reinterpreted by Steve Pepe through his New Wave sensibility.
What follows, “Sospesissimo”, so?ens the iniJal intensity slightly through its wobbly and playful groove. Here the guitar strings seem to move in slow moJon, conveying a slight feeling of dizziness. Elements from jazz and downtempo music are expertly arranged into a bizarre and synaestheJc choreography of gestures.

The percussions hinted in “Sospesissimo” become more insistent, almost unruly, in “El Pelusa”, which pushes us effortlessly towards a freneJc and liberaJng dance.
This cornucopia of LaJn-infused sounds marks the contours of an iconic character, Diego Armando Maradona, AKA Mano de Dios, and culminates in a carnivalesque explosion of euphoria.
"Carpenter" enhances the peak reached by its predecessor with a more reserved and introspecJve verve, but no less fascinaJng. As a composiJon with oneiric nuances, deep volumes and chiaroscuro, "Carpenter" demonstrates the double-edged nature of this album and, consequently, the wide emoJonal spectrum that Steve Pepe manages to convey in his producJons.
Almost sneaking up on us is “Verso”, with its classical violins and the fearless cacophony challenging the harmony of the track. Fearless is also Steve’s voice, which channels the intensity and excitement of a journey that’s about to begin, but whose desJnaJon is yet unknown.

A slight hint of existenJalism comes into play just before we approach the next track, "ZimaNeta", which marks the end of this sonic journey.
Here it is again, that very same languidness grasped in the opening. If “Arabia for Delfina” lets us glimpse the moon, “Zimaneta” goes straight for the enJre Milky Way with its mulJtude of glimmering dots. In this spacey exploraJon made of a thousand colors, all the musical elements encountered along the way are revealed once again for a final farewell.

It's the final release of the eight-part Astra Spectra series featuring none other than label co-founder Syrte with a powerful 6 track EP that traverses the space between IDM, Electro and something else. Included is a collaboration with Science Cult co-operator Aura Nox.

Limited release.

After “The Legend of Kaspar Hauser” directed by Davide Manulli, Vitalic is once again putting his music to moving images with “Disco Boy” by Giacomo Abbruzzese (awarded a Silver Bear at the 2023 Berlinale). Electronic, intense and navigating between a variety of different atmospheres, the soundtrack - much like the film it accompanies - is full of promise and mystery. “The Swamps”, “La Guerre” and “Helicopter” are reminiscent of the intense, dark and foreboding productions of Thomas Bangalter for “Irreversible” by director Gaspar Noé. In contrast, “Winter is Coming” and “Lost Time” are places of melancholy and sweetness where all bass has completely disappeared. As for the eponymous theme for the film, “Disco Boy”, it pays true electronic homage to the sound of disco. The retro-futurist soundtrack to “Disco Boy” oscillates between devastating kick drums, moist ambient and dreamlike swathes. Vitalic has created uncharted sonic landscapes that invite us on a voyage of initiation and self-discovery.

A suite of raga-inspired compositions and improvisations that grew from a fertile collaboration between Christina Vantzou, Michael Harrison and John Also Bennett centered around a devotion to just intonation tuning, deep listening, and resonant spaces.

Michael Harrison is a composer and pianist who is a dedicated practitioner of just intonation and North Indian classical music. He was La Monte Young's protégé and piano tuner during The Well-Tuned Piano years and a disciple of Pandit Pran Nath, and has since developed his own customized tuning systems. Guided by conversations with Christina Vantzou, who provided structural frameworks for each piece and directed the sessions, the compositions drew from Harrison's daily raga practice, using its ancient forms as starting points from which the compositions could blossom and morph. A resonant backdrop of modular synthesizers played by John Also Bennett, who also contributed piano improvisations played on Harrison’s custom tuned Steinway concert grand, expanded the sessions into true collective praxis.

As noted by Parul Gupta, a conceptual artist based in New Delhi who contributed the stunning artwork for the album, “the songs feel like an extension of silence.” The notes from the piano emerge, resonate, and dissolve in measured and meditative sonic fields, allowing for a concentrated listening experience where every sound lives, breathes, and ultimately returns to silence. Contained within these aural ecologies are potentialities that emerge from a collective listening and improvising experience, and a resonant rebuttal of the standard equal tempered tuning system that has dominated Western music for centuries.

This release collects the verdant recordings from the trio’s 2019 Berlin sessions on two 45rpm records, accompanied by a risograph printed insert featuring track credits and Harrison’s handwritten tuning charts used on the album.

Artist Statement

An observer, a pianist and a synthesist form a triangle. The observer (Christina) is both witness and guide, the pianist (Michael) is precise and intuitive, and the synthesist (John) provides a palate of drones which offer increased resonance and a supportive framework. The piano has been carefully prepared to become a resonant body. This enhancement was achieved by tuning it to two of Michael’s just intonation tunings, based on his work, “Revelation,” and North Indian classical music, or ragas. These tunings maintain mathematically precise intervals. In place of voice, sitar or tabla, is the piano, and in place of the tanpura, is the synthesizer. Playing ragas is an ancient practice of structured improvisation. Time, knowledge and memory interplay in the body and mind of the practitioner and this is a large part of the raga practice. The raga combines with muscle memory and personal aesthetics to individuate results. Through the formation of a trio, multiple perspectives and timelines collapse and the raga mutates again. These twists and turns seem to only fall back on themselves as the raga shows us that there are multiple
compositions already stored in our collective memory. They blossom, morph and spring forth like nature.

Nothing was written down to execute these recordings. The simplest forms were explored in the least complicated way. The first reflection of this process is what happens in the mind and body of the listener. The observer is always observing. Regions of sound tap into memory and imagination and the sound of the raga itself becomes a prismatic event.

The first release from Organic Signs, a hybrid platform and record label that operates from Barcelona and Madrid, with Jan Swam as Label Manager.

This is a reissue originally released in 1998, by an artist who knew how to go beyond the sounds of the golden age of rave, to reach a unique style. Kaya Project, Shakta, Somaton or Hibernation are some of the akas that Seb Taylor has used throughout his career to leave us an unprecedented musical legacy.

Four tracks that go from trance, DnB, trip-hop and breakbeat. Telepresence has a controlled rolling bass, excellent use of breakbeats and chugging flanged riffs. Pure psychedelic trance vibes. Continues with the drop in bpms of The Improvable Voyage, along with an original trip hop sounds with flanged riffs (again).

We turn to side B1 to meet Soma Junkie, a track with a psychedelic breakbeatness lines with very creative drum fills; and we finish with Dr Sembei, a mix between psychedelia and drum and bass, to leave a good taste in your mouth.

Ltd. Yellow+Red Splatter Vinyl

Die unbestrittene britische Musikikone Dizzee Rascal meldet sich mit dem elektrisierenden neuen Album 'Don't Take It Personal' auf seinem neuen Label Big Dirte3 Records Ltd. zurück. Die LP stellt seine besten Arbeiten in den Schatten und ist eine eindrucksvolle Erinnerung daran, wie Dizzee zu seinem legendären Status kam. Es fängt ihn in aufrührerischer Form ein, während er mühelos und mit unvergleichlicher Leichtigkeit durch eine ganze Sammlung an eindeutig britischen Genres fliesst. Dizzees neuestes Werk, das sich auf prahlerische Flows und beeindruckendes Wortspiel konzentriert, ist eine weitere Siegesrunde eine der prägendsten Legenden der Rap-Musik, und während es weiterhin Reime regnet, denkt daran: Es ist nichts Persönliches.

Salem Rashid Skourlis, a human artist and composer, defies limits to manifest his solo project "fatalism." Drawing inspiration from personal experiences with paganism, pacifism, and immigration, fatalism intertwines otherworldly sounds and post-industrial landscapes. His work, relentless and self-sufficient, illuminates a foreboding future. Founder of @bedouinrecords, he has captivated audiences worldwide in prestigious venues like Berghain, Berlin and KGR(n), Tokyo. fatalism's forthcoming debut album, "fatalism:Gh0st," explores human escapism and the power of music to transcend societal confines. Currently based in Bangkok, Salem continues to forge sonic journeys, prepare film soundtracks, and embark on a solo tour for the release of his new album.

Born in la Hague near Cherbourg and based in Rennes for 7 years, Héron Cendré builds a poetic world made of modular synthesizers and field recordings picked up in schools and other minimal lo-fi weirdness. The album 3-4 is a perfect example of this and is « a pure, minimal, chaotic, holy, cosmic, tender skill, somewhere between a movie soundtrack and a signal from outer-space ».

His influences include Terry Riley, Philippe Glass, Hiroshi Yoshimura, François de Roubaix, Jean-Jacques Perrey and Pierre Bastien.

“Joe McPhee’s first international release, Black Magic Man, was issued on the newly formed Hat Hut imprint in 1975. It was a watershed moment for the 35-year-old musician. Based in Poughkeepsie, New York, he was too far away from Manhattan to have participated extensively in the Loft Jazz happenings of the decade. European exposure, however, would give McPhee an alternative circuit, something of an escape route from the trappings of American cultural myopia. “In support of the new record for this Swiss label, McPhee invited John Snyder on a European tour in October 1975. Snyder was a synthesizer player with whom McPhee had made the duet LP Pieces Of Light, released a year earlier on CjR. The two musicians developed an extensive repertoire, playing diverse spaces in the Hudson Valley. Geographically close gigs were a plus, since it took extra energy to hoist Snyder’s ARP 2600. “McPhee and Snyder were invited to play at the Willisau Jazz Festival in Switzerland. If you compare this live record with Pieces Of Light, a studio effort, it’s considerably more open. South African drummer Makaya Ntshoko is rolling thunder on the choral ‘Voices,’ shuffling under Snyder’s bubbly beat on ‘Bahamian Folksong.’ It is quite a special combination, enough so that Hat Hut chose to release it as their next LP, Hat Hut B in their alphabetical series. The Willisau Concert represents the sound of Joe McPhee opening up, opening out, expanding his field of operations to include new figures, fresh experiences, new continents of sound.” —John Corbett (excerpt from the liner notes)

“There are lots of outstanding Joe McPhee LPs. Nation Time being chief among them, but there’s also Pieces Of Light, Oleo and Topology. The Poughkeepsie, New York-based multi-instrumentalist, by now an international star of free music, has amassed a daunting discography, no doubt. If you want to peer deeply into the soul of Joe McPhee, however, there’s no way around it, you need to spend some quality time with Tenor. “Tenor is McPhee’s first solo record. He did not set out to make it. It was an afterthought, quite literally, born of a gathering of friends at the Swiss farmhouse of cellist Michael Overhage. A beautiful meal, some drinks, warm conversation, and ... why not, an impromptu recital. Hat Hut producer Werner X. Uehlinger was there and a year later issued it as McPhee’s third LP for the label (Hat Hut C in their famed letter series). “The existential blues ‘Knox’ sets the stage, indicating that this will not just be a toss-off postprandial singalong. ‘Good-Bye Tom B.’ carries on with aching melancholy, through burred notes and hushed harmonics. The relatively jaunty ‘Sweet Dragon’ is also emotionally loaded with Ayler-esque vibrato, slurs, wipes, and blasts of tone. The side-long title track comes without a theme, as a kind of pure investigation of the horn, its potential, its limits, its expressive capacity. There have been few solo sessions as comprehensive and devastating as this spontaneous after-dinner diversion in rural Switzerland in 1976. We’re very lucky someone pressed record.” —John Corbett (excerpt from the liner notes)

Previoulsy unreleased Drum and Bass remix of a 1970's soul classic, which was recently discovered on a well known DJ's hard drive after lying dormant for 20 years. A sure fire anthem with a deeper touch, that will appeal to non-D+B fans as well as hardcore devotees of heavy basslines and breaks.. The flip (AA) side contains another classic soul reworking, also recently discovered after 20+ years and sounding as fresh and relevant as the day it was made. This time the backing is lush 2-step garage beats, again with a deep soulful vibe that will appeal to soul music lovers as well as UKG fans and archivists. Rinsed by Tuff Jam as an exclusive dubplate and now on vinyl for the first time. Big tune, limited to 250 copies only.

Vinyl Only

The Primary Perception brothers are back with their second album.
Already a staple on the label, the canarian duo have produced a magic
mix of sounds and tempos, with their own modern old school flavour.

Ltd. Purple & Black Splatter Vinyl. It's been four years since Zach Saginaw, aka Shigeto, returned home to Michigan from a stint in Brooklyn, NY, and since then, the multi-faceted musician has become a part of the fabric of Detroit's music scene. While always having a personal approach to his projects, Saginaw's influences for his third album, The New Monday are more about the community of Detroit than anything else. Named after a weekly DJ event called Monday is the New Monday that Saginaw does at the unassuming Motor City Wine with a group of friends, The New Monday is the result of Saginaw diving into the city's deep record culture, where there legacy of artist's of the past help Saginaw embrace his own contributions. "It's focused on a couple things and they all kind of come together to represent dierent things," explains Saginaw. "My time back in Detroit, back living in Michigan and spending time with a lot of kind of original people who have always been here, learning from them, hearing stories from them, being influenced by them, and inspired by them." While, in the past, projects like Lineage or No Better Time Than Now were rooted in strong personal messages, family and relationships respectively, The New Monday represents a communal eort where solidarity is the key. Going for a simplified approach of just trying to make good tracks, The New Monday is diverse in its styles leaning more into a dance music direction - new ground for a Shigeto project. A new air of confidence in Saginaw has expanded his horizons since his return to Detroit, but traces of his past work will continue to be present. "I don't want people to think I'm leaving anything," says Saginaw. "I'm still me. It's a result of me being immersed in the culture, and inevitably making music that is influenced by that culture whether it be house, techno, jazz, rap. It doesn't matter. It's all coming from what I love about Michigan." While The New Monday still features the jazz textures long associated with Shigeto projects, the varied elements that make up the album cohesively come together to show the distinct inspiration that Saginaw has drew from since his return home to Detroit. Like on "Barry White", which features Detroit hip-hop artist ZelooperZ (a member of Danny Brown's Bruiser Brigade crew who Saginaw also has a side project with called ZGTO), Saginaw captures everything he's been doing all on one track. As much as it's hip-hop influenced, it's a mutant that encompasses elements of dance music, jazz, and ambient sounds. Throughout The New Monday, Saginaw poignantly references the musical influences that have either always been with him or newly discovered. It is Saginaw's interpretation of Detroit's rich culture of innovative artistry, but done so with respect for the history and to contribute, not disrupt. "I think over the past four years, I can confidently say that I found my place here," describes Saginaw. "I'm happy here and I feel that I have the respect from the people I need respect from, that I want respect from. It's all of the result of embracing it and embracing, not Detroit, but embracing community, embracing family,








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‘London Sound’ is the latest album from Multi-Platinum selling Drum & Bass duo Sigma. The album is a perfect, full-circle, encapsulation of everything that's brought Sigma to the present moment. Featuring an array of drum and bass anthems, including “Adrenaline Rush” featuring singer MORGAN, the album radiates Joe and Cam's love for music making, for dark dance floors and pop radio alike, and for completely ignoring any boundaries or hierarchies placed in their way.

Speaking about the album Sigma says “London Sound - this album feels like a homecoming to us. We spent our early years in clubs all around London, soaking in the music, the culture and the energy. This album takes influence from those times as well as us being able to make a fully drum and bass project for the first time since 2015. London Sound feels like the album we’ve been waiting to release.”

Es war eine unglaubliche Reise: 5 Singles mit Musikvideos, das "Nobody Is Not Loved"-Album, ein eigenes Festival in Amsterdam mit über 17.000 Besuchern, 7 Remix-EPs mit 16 verschiedenen Remixen und mehrere Essential New Tunes-Auszeichnungen.

Und mit der Veröffentlichung der kompletten Remix Collection neigt sich die NINL-Reise dem Ende zu. Was mit der Veröffentlichung der ersten Albumsingle "Home" im Oktober 2020 begann, gipfelt nun, mehr als zwei Jahre später, in einer 4 LP Vinyl Box mit 16 Remixen von Solomuns "Nobody Is Not Loved" Album.

Die Tracks des Albums, die ursprünglich ein sehr breites Genrespektrum abdeckten, wurden von 16 renommierten Produzenten auf den Dancefloor zurückgeholt: Âme, Boys Noize, Carl Craig, DJ Koze, Jackmaster & Skream, Keinemusik, Kim Ann Foxman, Lena Willikens, Maceo Plex, Michael Mayer, Pantha Du Prince, Stimming & Johannes Brecht und Trance Wax. Jeder von ihnen liefert in seinem eigenen Stil, aber auf den Club ausgerichtet.

This is the first reissue of “Nightmare” since 1989 and is in it’s original 12” format. One of the earliest electro beat records, it has become increasingly more in demand for fans of the genre. Writer/producer Dizzie Dee was prolific in the 90s, notably as co-member of Candy Flip (as Danny Spencer) and under other aliases on the electro and Balearic scenes. Co-writer of “Nightmare”, Richard Scott has worked extensively with Robbie Williams through to this day.

Deeptrax go even deeper with ‘Hi8tus’ – the first album from Detroit pioneer and forerunner Suburban Knight in over 12 years.

One of the earliest protagonists in the epoch-defining, landscape-changing Motor City cultural movement, and a card-carrying Underground Resistance member, James Pennington’s fingerprints are all over Detroit’s nascent phases as he mentored the likes of Mike Banks, collaborated with Kevin Saunderson and appeared on formative Transmat dispatches in the late 80s and early 90s.

Preferring a behind the scenes role for many years, Pennington has operated in the shadows, only ever releasing music when he’s had something to say. There have been long periods of silence in his discography but in recent times he’s returned with a series of singles and outings on Mollison Folson & Derrick Lewis’s Detroit Techno Records.

Now time to level up once again and remind us of his sonic skills and stature, ‘Hi8tus’ thrives off its timeless futurist schematics, each one instantly tapping into the deepest of Detroit sources, but doing so without any repetition or covering old routes.

Largely breakbeat-based, Pennington pays homage to the electro foundations in a wide range of forward-facing ways; the uncompromising icy opener ‘Far Far Away’, the hazy soul and dreamy waves of ‘Spiritual Ride’ and the gnarled, brittle brutalism of ‘Stalker Turned Electro’ (a nod to one of this most enduring bangers back in the day – ‘The Art Of Stalking’) map out the parameters of Knight’s navigations.

In etween we have brooding, pensive moments of tension. The four-to-the-floor prowl of ‘Thy Will Be Done’, the b-boy swagger of ‘Machete’, the glacial dark side voyage of ‘2 Different Worlds’, the list of immersive explorations goes on…

Proof that when it’s in your DNA it doesn’t matter how long you pause between releases; it’s about what you say with your music. Suburban Knight’s hiatus is well and truly over.

LaMenaceRecords is a french parisian independant label.

Pressing of the first vinyl which brings together 4 tracks from various artists, speaking on the 20th district of Paris.

Influenced by all styles of music possible and imaginable, we tried to offer something very varied, exploring house from several angles : from old school refreshed with groovy sounds and lines to hip-hop jams, through much more minimalists atmospheres.

This first EP is the first part of a musical creation project around Paris : this first disc is made, among other things, with various recordings made in the streets and metros of the XXth district.

On the first side, house in the rules with the Groove Boys Project : a deep track based on the 909/303 combo.

Next, Max's track, in a more electro house register, will transport you directly to Belleville with its captivating cadence.

On the other side, you will find 2 pieces that go further from the current definition of house.

First, Pasta Mool's track, in a more minimalist style, sort of progressive and atmospheric minimal-tech house, will enchant the more perched among you.

Finally, as many samples used in house are also in boom bap, Soufflé Caramel, who does not only strip tease, has concocted you a hip hop track resolutely focused on samples, kind of a bonus track that we all wanted.

Warehouse Find!

Marking the first chapter of Hospital Records’ 2020 story is the return of their flagship compilation series, ‘Sick Music 2020’. Loaded with 25 brand new tracks from the world of drum & bass, ranging from fresh original productions to exclusive new remixes and future classics from the Hospital Records family and some very special guests. The album kicks off the year with first-class sonics from the likes of London Elektricity, Kings Of The Rollers, S.P.Y, Grafix, Inja, Fred V, Unglued, Urbandawn, DRS & Dynamite, Kanine and more.