Beats Vinyl New Releases - News

Hidden Orchestra's 'Dawn Chorus Remixes' follows the illuminating 'Dawn Chorus' album, reworking producer and composer Joe Acheson's latest album of immersive field recordings and expansive soundscapes into an journey through electronica, deep house and ambient psychedelia. Fronted by Wingbeats (Max Cooper Remix)', 'Dawn Chorus Remixes' features reworkings from Max Cooper, Matthew Herbert, Throwing Snow, The Physics House Band, Nuage, Floex, Nostalgia 77, Wrongtom and Skalpel.

Built around a collection of birdsong and other field recordings captured over many years across diverse locations around the UK and abroad, the snapshots within 'Dawn Chorus' intertwine for a transporting listen. The 'Dawn Chorus Remixes' album revisits this vast source material, reinterpreting the structure of the tracks and uncovering new layers of hidden sounds and instruments for the listeners, sometimes unearthing entire musical progressions that bring the tracks into clearer focus.

Max Cooper provides his take on Wingbeats, focussing on the synchronised recordings of birds beating their wings, to reveal a beautiful chord structure hidden amongst the rhythms. Matthew Herbert applies intricate electronic components with a purist house beat on Stone' which follows into The Lizard', remixed by Polish duo Skalpel who were an early influence of Acheson's. Electronic producer Floex transforms 'Still' with layers of oscillating synths, while Wrongtom provides a dub remix and The Physics House Band deliver ambient and progressive sounds for their rework of Long Orchard'.

Key Marketing Points:
- Remixes from high profile acts such as Max Cooper, Matthew Herbert, Floex, Throwing Snow, The Physics House Band, Skalpel and more.
- Available on 2x LP, housed in reverse board sleeve with silver embossed foil title and printed inner-sleeves. Cover art comes from acclaimed artist and printmaker, Norman Ackroyd.
- European AV 'Dawn Chorus' Tour starts November 20th 2017.
- Radio support for 'Dawn Chorus' from Lauren Laverne (BBC 6Music), Nemone (6Music), Huey Morgan (BBC 6Music), Gideon Coe (BBC 6Music), Jamie Cullum (BBC R2) + more
- Previous press support from The Arts Desk, Clash, The Independent, The Guardian, Line Of Best Fit, Blues & Soul, Record Collector, DJ Mag

Praise for the original Dawn Chorus album
You could just listen to that forevermore, couldn't you' MARY ANNE HOBBS (BBC 6MUSIC)
Such a beautiful project' - LAUREN LAVERNE
Out of this world' - THE LINE OF BEST FIT
Gorgeous' - NEMONE (BBC 6MUSIC)

Detroit legend Dj nasty aka Detroit's Filthiest is back on Casa Voyager with his most emotional work to date. He delivers here 4 prime cuts full of detroit funk.

Unruh return with the second volume of their Sextant VA series. Jacksonville contributes a prime slice of deep electro, followed by a dry polyrhythmic stepper from Capricorn One. On the flip, Tachyon show their wistful side with 'Select A', before Robotron rounds things off with the broken beats of 'Urlaub in Marzahn'.

“Passing Signals” is the Suction Records label debut of The Jaffa Kid, aka UK producer Daniel Pringle. Over the past few years, The Jaffa Kid has been building up a strong following amongst braindance/d’n’b/acid heads, with killer releases on labels like 030303, Altered Sense, Utter, and his 2 standout “anonymous” WH03 and WH09 EPs on the Withhold label series.

From the melody-drenched 303 acid of “Olyqu” and “Xom”, to the Bochum Welt-style electro vibes of “Ief” and “Tropet”, it was clearly just a matter of time before The Jaffa Kid appeared on Suction. With these 8 carefully curated tracks, Suction Records delivers 8 tracks of timeless melodic electronics, and surely the most solid The Jaffa Kid release to date, in our books!

Available digitally, and on limited vinyl LP in a reverse board jacket — includes a Bandcamp download card inside.

100 copies only

Acid/electro mini album by Chupacabras. Download code included.


Support from: Elena Colombi, Timothy J Fairplay, L.F.T., Myn, Filmmaker, Kluentah, Chris Mitchell, DVS NME, Francois Dillinger, Acidic Male

ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid black vinyl. All tracks have been specially remastered for LONG CUT vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

World-class DJ legend Paul Oakenfold and Latin multi-Grammy award winner Luis Fonsi team up on The World Can Wait, an unexpected collaboration meshing the artists’ strengths to produce a heartfelt masterpiece. While combining Oakenfold’s uplifting, melodic synths with Fonsi’s emotional vocals, they take us on a journey where the hopes of an undeniable connection are enough to conquer the world, especially in these troubled times. Co-produced by DJWS (Lady Gaga, Pitbull), The World Can Wait is the first single to be released from Paul’s new album, his first since critically the acclaimed A Lively Mind (2006) and Bunkka (2000) will veer down a decidedly chilled out path, making it an incredibly listenable album and not one solely crafted for the dance floor. “I just love the song and the meaning of the lyrics. The song came about during a writing session I was doing with a few writers and we took it to Luis Fonsi and his team who loved the song as well. It’s a good taste of what’s to come from my studio album – it’s mostly melodic songs and very cinematic with great singers and interesting beats. It’s something you will want to sit down and listen to in its entirety rather than as individual tracks,” Oakenfold says.

Two years after his Debut EP Bloodline OTN 01, Umo returns to OpenTheNext with another 5 #neodancefloor killer tracks.

The sound of Umo is the result of almost two decades of studying frequencies, vibrations, sequences of movements, plants and ascetic substances, seeking to recover the Music & Dance´s sacred and transcendental vision to ascend and sustain higher states of consciousness.

His new EP is a slow motion rework of the Raves in the 90s´ original sounds & vibrations. Traveling to a time when the dancefloors were true places of healing , authentic liturgies where people danced in community for days with eyes closed – before the internet, smartphones and globalization would corrupt everything.

#slowravers is a sonic journey that encourages conscious breathing and movement, and allows you to empty, dilute and connect in perfect resonance with the void that binds everything together.

Jon Jones (@jonjonesmusic) is first to contribute to the DS global frequency database, with a blissed-out 3-track EP, 'Hyla'. In this program, we are situated in an open-world environment with
a densely populated 3D rainforest installed. Here we will explore the realms of cybernetics and it's correlations between ourselves and the natural world.

Now available to experience throughout our EtherNetTM system.
Program A is a transcendent journey, dosed with a utopian vision. Organic progressive breaks and a mycelial 303 acid line, infused with euphoric beauty, all maintaining the organic touch that really defines Luke's music. 'Gateway' is best defined as a simulation
of ascending the stairs to the higher plane.

Program B1 'Nor Heaven, Nor Hell' is a deep, swirling cosmic trip. An echoed inward spiral driven by an earthy groove and beautifully weaved percussion, all lifted with with blissful pads. This program is optimised for forest use.
Program B2 is a soundtrack to your personal interpretation of paradise. Tune in your frequency and imagine. Thoughts of luscious glades with water reflecting the sun at it's highest, drifting weightlessly above a natural utopia.

Basic Rhythm returns to Sneaker Social Club with new EP "I Don't Know What I Would Do". A side opener, What I Would Do, starts with a stepping percussive melody line and sampled vocal before dropping into a 4/4 stomp and warm bassline, drawing upon Detroit Techno of old in his own inimitable style. The second track, I Just Don't Know, opens with lush keys and female vocal refrain of "I just don't..." gradually building up the percussive elements until dropping into his trademark percussion and sub bass work out.

DJ Support
Anastasia Kristensen, Mickey Pearce, Jossy Mitsu, Doc Scott, Appleblim, Yushh, Nikki Nair, Shcuro, Michael Serafini (Gramaphone Records), Extrawelt, Savile, Flore, Lucretio (The Analogue Cops), Roger 23, J-Shadow, Tailor Jae, Ahadadream, EMA +more

आप पसीने से तर हो जाएंगे, इसे चालू करें और नृत्य करें

It’s almost four years since their last opus - two years since the most-recent run
of live shows. Now, Bitchin Bajas return from whatever kind of rare ether they
occupy when they’re at home, bearing the riches of the whole cosmos in their
hands. And strictly OG as well - on cassette only.
 ‘Switched On Ra’ is the outcome of a typical Bajas exercise: pouring some out
for the pioneers that came before (as they’ve done with Bitchitronics and their
participation in the annual Chicago performance of ‘In C’ over the years). It’s a
nice way to get a flow - they play a little of themselves, then some for the
pioneers, then a little more for the band. Before long, they’re playing with the
inspirations twined, as they can only come from within.
 For ‘Switched On Ra’, this meant a deep delve into the song-book of one of their
soul-predecessors, Sun Ra, whose music is literally written in the Bajas DNA.
Digging into this music sounded wild on paper: the drone synth group taking on
the Arkestra harmonies and Ra’s loose grooves? The trick was to get that sense
of rhythm to translate across the spectrum from Ra to Bajas, in a way that
worked for them both.
 Their rearrangements of the tunes went good - up and down the EQ band, they
were finding the round sounds and jagged edges that brought Ra’s music into
their own thing. Then at the last minute, there was another twist - why not pay
tribute to the Queen herself, and think of the arrangements with a Wendy Carlos
vibe? A little side homage? After all, ‘Switched on Bach’ was visionary, bringing
analogue synths from the outside all the way into the mainstream in the late 60s -
and this take on Ra is meant to take him to new ears everywhere.
 Sun Ra of course was his own kind of original keyboard visionary, using electric
keyboards in the late 40s and 50s to fill a role in jazz that had traditionally been
played on acoustic piano only. Once he’d done so, he took his writing in
directions inspired by the electricity, places no one had thought to go before
then.
 Bitchin Bajas have been content to dominate in a microtonal world, usually
without a single chord to be found anywhere. But here, they step up righteously,
their vibe triangulated as they bring Ra’s music forward with some Wendy C
style, making an unexpected space for all to thrive. There’s a real feeling of joy
as these collected signals bounce off the tape and through the speakers into
your space.
 To get this unique colloid exactly right, Bitchin Bajas used nineteen different
keyboards. They abstained from deploying their arsenal of reed and woodwind
instruments: everything had to be on the keys. This meant Yamahas, Rolands,
Korgs, Casios, a MicroMoog and of course their trusty Ace Tone organ. They
even broke out the Crumar DS-2, to have some of Ra’s chosen tone in the mix.
Then Jayve Montgomery added an EWI as a solo voice on a few tunes, just to
get some air-blown signal (and a natural shout out to EWI master Marshall Allen)
in there, after all. It felt like somewhere in the universe, Ra was decreeing it.

LIMITED EDITION 7” RUN OF 500 - only a few copies here!

MICA LEVI AND DUVAL TIMOTHY - TWO VITAL FIGURES AT THE HEART OF
CONTEMPORARY COMPOSITION - COMBINE FOR THIS SPLIT RELEASE VIA NTS.
AFTER CONTRIBUTING TO NUMEROUS ARTIST AND FILM PROJECTS IN RECENT YEARS,
MICA’S ‘HOSTING’ SCULPTS A HYPERMODERN BAROQUE SOUNDSCAPE WITH SPARSE STRINGS AND PIPES.

DUVAL’S ‘DYE’, HIS FIRST MUSIC SINCE 2018’S REMARKABLE 2 SIM, CONTINUES TO
COMBINE SUBLIME & EVOCATIVE FIELD RECORDINGS WITH ABSTRACT POP SENSIBILITIES.

“After the software hallucination of my last record Dreem Static we reboot back into the Metropolis underground: a never-ending computer simulation inhabited by freak machines and rogue algorithms,” says Quaid of his latest release. “Trawling through past and future frequencies to help process today’s hyper-reality.”

If this sounds loosely like the plot of a wild and exploratory sci-fi film then that’s because Quaid builds sonic worlds that mirror the breadth, scope and futuristic visions of such films. “Storytelling is a key part of my music making process,” he says. “I’m definitely channelling late 80s and early 90s sci-fi killers like Total Recall, Running Man, Robocop and maybe some Knight Rider in there too. But all respun for the post-pandemic hyper-real craziness of today.” The sci-fi element also fits into Quaid’s incredibly strong visual aesthetic, namely his futuristic and very distinct eye glasses. “The glasses are a Quaid trademark for sure,” he says. “I got the LED lights custom made by a guy in the US who worked on the Cylon outfits for the original Battlestar Galactica.”

Our story begins in Jerusalem 1980 – Zadik Zecharia – a folk musician whose speciality is the Zorna – a traditional kurdish woodwind instrument – recorded a cassette of kurdish melodies played on Zorna and Dola, a kurdish drum.

The tape was released independently and distributed mainly around the kurdish-jewish community in Israel. Zadik mostly performed at weddings and ha as / celebrations and was also known by the nickname “Iron Lungs”, because of his ability to take only a few pauses for breath during his long gigs.

In 2005, one tape found its way to “Something on the Road” – an underground CD-r Jerusalem based label which reissued the music on CD-r. Overnight, these intense melodies became a cult phenomena in the hipster-ish circles of Jerusalem and beyond. The kurdish melodies could suddenly be heard during dj sets, topping electronic beats, or adding drones to heavy experimental sessions. which later led “Something on the Road’s” founder to initiate a remix compilation with Jerusalem’s nest producers. One of them is your truly, Mule Driver. The remix has became a cult by its own.

Fast forward to present time, a conversation with Legowelt about folk music led Mule Driver to dig an unreleased longer version of this techno remix. As well as ask the mighty Legowelt for his interpretation, that turned out as a killer acid track followed by an EBM – electro belter by Juju (Juju and Jordash) and PRZ (Clone).

There’s nothing stopping us from automating something.
Nothing is stopping us from being automated.

Form does not differ from emptiness, emptiness itself form. Sensations, perceptions, formations, and consciousness are also like this.

All beings & time are marked by emptiness; they neither arise nor cease, are neither defiled nor pure, neither increase nor decrease.
Therefore, given emptiness, there is no form, no sensation, no perception, no formation, no consciousness, no eyes, no ears, no nose, no tongue, no body, no mind; no light, no sound, no smell, no taste, no touch, no object of mind.
Far beyond all inverted views, there is neither ignorance nor extinction of ignorance. There is nothing stopping us from automating something.
MONOCVLTVREMMXXII
—-
MonoCulture is a nomadic, shape-shifting act of retribution against the confinements of social enslavement. This ambient, improvisational variety of jazz-minded techno is a new project by John Swing of LiveJam Records & Gaia Tones.
All tracks have been written, recorded and produced with the highest quality analogue equipment; mastered & cut by Simon Davey @ The Exchange, aiming to provide the best possible definition of sound for both the listener and the deejay.
“Last” will only be available on vinyl and is exclusive to this 12” EP.

Recorded in London, UK, 2020. Limited to 500 copies.

Tammo Hesselink inaugurates his newly launched imprint Rear View Memory, intended for occasional dumps of personal works. On this first release the Dutch producer combines his rhythmic side with his modern hypnotic techno approach. The A side contains two UK techno inspired tracks that lie between soundsystem-ready dj tools and atmospheric floaters. The B side contains a percussive techno-not-techno roller and a halftime drum & bass workout in collaboration with Romanian producer DYL.

This is a new project out of the Harmonious Thelonious camp. It´s stripped down, dub infused, harmony driven danceable music with deep basslines, chords and dub effects. Should be checked out live on a heavy sound system!! The sequencer is the weapon of choice!!!

As Anomalie, the shape- shifting production project he unveiled in 2016, Dupuis has channeled his musical upbringing (his mother, a piano teacher; his father, a host on Radio- Canada), formal schooling, and stage- seasoned chops into two companion EPs — Metropole and Metropole II — the Chromeo collaboration Bend the Rules, and a series of singles lighting a pathway to his upcoming long-form debut, Galerie.
Galerie’s forward-facing approach may call to mind a timeless phrase familiar to any jazzhead: The Shape of Jazz to Come. Ornette Coleman’s 1959 opus reconfigured traditional notions of harmonic structure, its title and content serving as both a blueprint and open question for progressive music’s future. With Dupuis’ reverent but revolutionary project, that answer is no longer in the past or on the horizon; it’s here.

Top dog at Exotic Robotics (alongside fellow sports-wear aficionado Sports Casual), Patrick Conway finally makes his debut on the label. Now gaining a fierce reputation in the studio, the international man of mystery delivers an absolute heater for his homegrown imprint - showcasing his gift for crafting crisp futurist techno, underpinned with heavy UK rave influences.

This is the 6th release on the label after their 5 previous sell-outs from the likes of Flora FM, DJ Guy, Fettburger, Textasy and Cofaxx.

DJ Python delivers a masterful remix on the flip.

RAW SPACE" is rooted in chaos and chance, sensuality and intensity - it's an album that's able to sound alarmingly freeform and tightly controlled simultaneously. Already established as a genre-disrupting DJ, and even dubbed "demon of the Nile" by Ugandan politicians after an exuberant performance at Nyege Nyege festival in September 2019, Kampala-based sonic hypnotist Authentically Plastic brings a digger's literacy, an activist's intent, and an artist's playfulness to their jagged debut album. As both a DJ and a producer, Authentically Plastic is drawn to the idea of chance as a creative tool - to push against the idea of the all-knowing genius, and approach artistry instead as a facilitator, unraveling parallel mismatched rhythmic events. Their musical process is to start with chaos, then attempt to mold those fleshy structures into polyrhythmic mutations, pulling influence from East Africa's innovative musical landscape and augmenting it with an exploratory sense of surrealism. On opening track 'Aesthetic Terrorism', rough-hewn industrial rhythms chug mechanically against course, dissonant synth blasts and acidic arpeggios. There's a faint sparkle of Detroit's chrome-plated Afro-futurism, but bathed in neon light, reflecting Africa's contemporary electronic revolution. Authentically Plastic's productions have a sense of thematic coherence, but their myriad influences are torched into cinders, leaving inverse impressions and ghost rhythms: the tuned overdriven clatter of 'Anti-Fun' echoes Ugandan kadodi modes, yet simultaneously mirrors the rugged out-zone grit of Container or Speaker Music; standout centerpiece 'Buul Okyelo' meanwhile is as rhythmically cross-eyed as Slikback or Nazar, but juxtaposes kinetic dancefloor thumps with chaotic microtonal ritual cycles. Writing "RAW SPACE", Authentically Plastic found themselves fascinated by sonic flatness. They realized that in Western art, there's an obsession with depth of field that carries into music, robbing it of intensity. The album is an example of the power that can be reclaimed when you let go of depth, letting sounds rub together carnally and spawn something fresh and unexpected.

Radio Mars is really happy to present you this new artist on the red planet !

Tomas is a punk at heart (a real one)

For this release he was able to mix all styles because he is not linked to any and that’s what makes his charm! His music appropriates the space in a particular way because it bewitches you and never lets go. Melancholic melody, devastating kick a kind of perverse decadence in which the poetic song is linked. Her soft voice comforts you in her sequences of Electro, ghetto, breaks, feverish techno in which you can guess the heat of sweaty bodies…A real job in transitions and choices…

DJ Frankie by his remix gave his hot and nasty side, he respected the original while putting his touch to it, a high-flying track that will easily turn any dance floor. Well done Frankie

This record is a marvel!

Violet Vinyl

The debut of Hamburg trio Cloud Management stages the meeting of three proven exceptional figures: Thomas Korf and Sebastian Kokus have been responsible for some stunning leftfield neo-kraut releases with their band Love-Songs in recent years; Ulf Schütte has been one of the most productive, and innovative protagonists of experimental electronic music in Germany for many years (see Datashock, Phantom Horse, or his most recent collaboration with G. Steenkiste/Hellvete on Umor Rex, for example). Following Love-Songs' highly acclaimed collaboration with Schütte, »Spannende Musik«, released in 2021, the formation of Cloud Management as a group in its own right marks a new beginning, which is celebrated with the long player on Altin Village & Mine.

The album is characterized by a dense texture of repetitions in which (modular) synthesizers and bass go head-to-head. It is on this foundation that the formal grammar of the album develops over its nearly 45-minute running time, organized along precise interventions into the hypnotic pulse: What is recognizable as echoes of 1960s/70s minimalism or Cluster functions on »Cloud Management« not in the sense that the sequences or the sequencers are left to themselves, but as highly concentrated, microscopic work on repetition. This virtuosically arranged, groove-based and even danceable density of the seven pieces never sounds strained or as an end in itself, but floating, cloud-like. The polyrhythmic workouts are at all times in the service of a refreshing expanse that opens up from the sonic saturation and is far removed from the formulaic box-checking often associated with the attribute ›kosmisch‹. »Cloud Management«, thus, marks not an exercise in the traditions of a musical past, but a distinctive position within contemporary electronic music.

All songs are written, recorded and produced by Ulf Schütte, Thomas Korf and Sebastian Kokus.

After presenting the acclaimed special reissue of 'A Midsummer Nice Dream" by Ochre in 2019, today Christopher Scott Leary returns to Lapsus' Perennial Series with 'Lemodie (15th Anniversary Edition)'.

2021 marks 15 years since the original release of 'Lemodie' on Scottish label Benbecula in 2006, and to celebrate the release’s fifteenth anniversary Lapsus Records is pressing a special collector’s edition of this IDM classic for the first time on vinyl.

'Lemodie (15th Anniversary Edition)' includes a double marbled vinyl, a full-colour print and a brand new artwork redesigned by Portland (Oregon) illustrator Nathaniel Reeves, who has worked alongside Ochre over the last decade. In addition, this special reissue also features five previously unreleased tracks from the 'Lemodie' era –three bonus on its vinyl version and five on its digital version–.

The first release in the eight part “Astra Spectra” series also marks the beginning for new label Science Cult. Techno veteran Stefan Weise (Gem Records, Wolf Trap, Framework Records) and Audiophile Music Group co-founder Jimmy Freer collaborate as Syrte and Visions of Glosters respectively to deliver three highly effective electro cuts, with a space funk centric remix by Syrte.

Far over on the west coast of the USA we find a room full of drum
machines, samplers and keyboards. Hard at work is Israel ‘Iz’ Gravning aka Tone Scientist, who’s been using this Seattle studio to produce genre-defying future music for more than 25 years.
An avid student of jazz fusion, hip hop, house, techno and others, he
was galvanised to build his own studio after hearing jungle and drum & bass on a trip to London in 1995. His musical course thus intersected with the collectives then pushing new dancefloor sonics rooted in the rich tradition of Black music – like Nuyorican Soul over on the east coast, and the new broken beats of IG Culture, Dego and Bugz In The Attic in London. Then, in the early 2000s, Iz put out a handful of EPs under different aliases, including ‘Lion Dub’ on the Guidance sublabel Subtitled, but soon stepped back from the public stage. That’s not to say he stopped making or playing music, though. Far from it. Fast forward two decades and our very own Walrus, chilly but happy in the depths of a Toronto winter, happened across ‘Lion Dub’ in the legendary Play The Record store. Intrigued, he tracked Iz down and discovered he had been active all this time. A short email exchange later and this 2xLP of archive material was born.

These six tracks explain fully why Iz calls his studio the ‘Time Machine’: vintage equipment and instruments converse with up-to-date software; classic sounds and textures twist into fresh configurations; and Iz’s own creativity and musicality sings to us from a location beyond the trappings of time or genre.

All music written, produced and mixed by Israel Gravning aka Tone
Scientist in Seattle/Washington between 2005 - 2008 except for “Things

dj poolboi is the moniker of Austin Texas' resident Adam Ansley. In 2017 Ansley started quietly releasing lo-fi house music as an artistic outlet on Youtube. Channelling his own struggles Ansley crafted a unique form of EDM – 'electronic depression music' creating emotional melodic songs mixing elation and nostalgia with melancholy.

Residing in the same vein as contemporaries Ross From Friends, DJ Boring, Mall Grab, Park Hye Jin and Dj Seinfeld while building on the experimental dance music of trailblazers such as Radiohead, Four Tet, Caribou and Jamie XX his music found its own niche and began to take flight online.

The new album on a limited 2LP crystal clear vinyl version!

DC Salas’s second EP indeed is a tale of beautiful feelings: After his last year’s debut EP on Live At Robert Johnson called The Complicated Art of Dreaming, this fresh four tracker is a proof to his creative continuity.

A1 Did They Listen rhythmic structure banks on a pounding and effective combination of bassdrum, conga and cowbell, joined by a mildly distorted bass line figure, which embeds itself in a panoramic soundscape. A2 Beautiful Feelings introduces a remarkable striking sawtooth sequence, with repeated filtered and resonating variations, alternating throughout the track. On the flipside, B1 Within employs yet another bubbly bassline, keeping the soundscape wide-open to retain enough sonic space for that eerie, yet highly energetic Cosmic Disco touch. B2 Liquid Perception signature is a liquid acid bassline introduced in the second part of the track, perfectly befitting its track title. All tracks of this monolithic EP, thanks to its consistent approach to sound design, could easily be mixed subsequently with each others.

DC Salas is thirtysomething year old Diego Cortez Salas, a skilled talent with peruvian origins hailing from Brussels. A regular DJ at C12 and Kiosk Radio both in Brussels, Diego also co-runs Biologic Records with his mate Abstraxion since 2014.

Formal yet experimental, each track plays with textural contrasts, gossamer lightness brushing up against uncompromising density. The result is a thing of austere beauty: from the cinematic opener to the climactic rush of the finale you will find shimmering arpeggios, industrial polyrhythms and, at one point, even an unabashedly 80s synth lead.

The first full length album from renowned electronic dance artists Benoit & Sergio.

The next album announced from FourFour Records, the new label from Jonathan Galkin, co-founder of DFA Records.

Mixed by Beatriz Artola (Fleet Foxes, Adele, A$AP Rocky) and Mastered by Heba Kadry (Bjork, Ryuichi Sakamoto, Nicolas Jaar).

Benoit & Sergio have previously released music on DFA, Ghostly, Hot Creations & Soul Clap Records.

On June 3rd Gondwana Records present 'Next Time Could Be Your Last Time' – the debut album by Forgiveness, AKA Jack Wyllie, JQ and Richard Pike. Described as "not really jazz, not really new age, not really ambient or electronica", instead they welcome you into a synaesthesia-inducing technicolour fantasy, full of wondrous emotive beauty.

This genesis began with the sharing of music, burgeoning friendships, and the mutually-inspirational benefit of the collective power of a group dynamic, with each spurring the next on to heighten their already expansive skills.

Intertwining the acoustic, electric and digital, utilising instruments and tools from across the decades, their synthesized Shangri La is a place where craftsmanship meets musicianship, even including sections notated on sheet music. The mood whilst recording, however, was one of loose freedom and enjoyment, with parts displaying a light-hearted playfulness. A world where shiny electronics meet flute and sax motifs, subverting them into something new.

Jack Wyllie is best known for his work with Portico Quartet, Paradise Cinema and Szun Waves as well as collaborations with artists such as Luke Abbott, Adrian Corker and Charles Hayward. Whilst JQ has released on Boxed and Lo Recordings, with his music also remixed by Loraine James, Sun Araw and Foodman. Richard Pike has had multiple records on Warp as a member of PVT, collaborated with Modeselektor and Ital Tek, recorded under his alter-ego Deep Learning, and founded the tape label Salmon Universe, all whilst composing scores for TV drama.

Wide-ranging influences on the LP include 70s era ECM and Miles Davis, Spencer Clark/Star Searchers, Ansel Adams, Steve Reich, H Takahashi, Don Slepian, The Blue Nile, Talk Talk's 'Spirit Of Eden', Michael Gordon's 'Rushes for 8 Bassoons', Sir Simon Rattle's documentary 'Leaving Home', Horoshi Yoshimura, Ulla Strauss and Disasterpeace, plus new developments in vaporwave and software experimental.

Hitting the centre at the Venn diagram of these interests, the record converges the trio's individual sound worlds into something singular. Primarily purveying a sense of endorphin-flushed tranquillity, they build synthetic, bucolic, lysergic landscapes, which although imbued with processed plasticity also contain multi-stranded depths of textural field.

• Jack Wyllie: Flute, soprano saxophone, Juno 60, loops

• Richard Pike: Vermona drum machine, Fender P-Bass, Roland Chorus Echo, NI Massive, Roland SH-101, Juno 6, mixing, mastering.

• JQ: Logic, NI Massive, various softsynths.

40th anniversary year of this (15 million + selling) classic release. Sony Music will be repromoting both formats. A 12 track double gatefold LP with 16 page booklet containing full script, lyrics, original paintings and credits. A double 17 song CD format. There is a 15 date UK arena tour in November/December, featuring Jason Donovan, Newton Faulkner, Adam Garcia and the 3D hologram of Liam Neeson. There is also a major 3 part adaptation of the H.G. Wells novel will on BBC 1 in late November/early December starring Eleanor Tomlinson, Robert Carlyle, Rafe Spall and Rupert Graves. National TV ad campaign across all networks to Xmas. Radio features, spot plays and ad campaign. Press ads and features. Online/social media activity. Poster campaign and database mailout.

Terkel Nørgaard is one of Denmark’s most exciting jazz young talents. After a series of acclaimed solo and group releases, he is now gearing up for Museum Remixed - a remix EP featuring a host of the best Danish house and future beat producers. On Museum Remixed, Terkel Nørgaard passes the creative reins to Shatter Hands, Lord Akton, Jeppe Wolmer and 99 Blows .

After having reissued five of his albums last year, the unstoppable beatmaker Degiheugi today completes the great retrospective on his past discography by announcing the release of his first two albums, in fully remixed and remastered version, available on vinyl for the first time. It is in a new light that purists will be able to (re)discover his first album “Aquilon”, released in 2005, which oscillates between instrumental hip-hop, breakbeat and electronic spleen. The album cover has also been redesigned down to the smallest detail for this deluxe version, to which is added a remix as a bonus. Degiheugi himself revisited one of his very first flagship titles "Un jour de printemps" for the occasion. Originally very downtempo, he offers a new version which this time takes on soul and afrobeats accents accompanied by gleaming brass with highlife sounds. The reissue of his first two albums thus completes, the beatmaker's vinyl discography with a total of eight albums, including the latest "Foreglow", released last year.

2022 Repress

Feel Fly is the alter ego of Daniele Tomassini: DJ and producer, composer of sound for theater and cinema, member of multiple hybrid projects, both live and studio. Based in Perugia (IT), the co-founder of the monthly party Afro Templum, has been for years an active organizer of musical and cultural events in the underground city scene. Raised between the walls of the historical and transversal Norman Club, he is currently a resident of the Tangram and Numbers parties at Perugia’s Urban Club, which led him to share the console with many important national and international artists. An avid collector of synths, keyboards and any noisy toy he can lay his hand on, after appearances on on “Roots Underground” and his own"Too Romantic” it’s now time for his first full length release “Syrius” on “Internasjonal” co-produced and mixed by Prins Thomas. “In the mystical crescendo of soft cosmic-melodic carpets and expansive Balearic pulses, Feel Fly tinges his sounds with Neo Disco, House, Synth-pop and Italo incursions. A slow pilgrimage permeated by immersive and dreamy beats that envelop you .” Prins Thomas , April 2019

Now for something a little different on the Make A Dance imprint, M.A.D 003 sees the first joint release on the label and welcomes rising Yorkshire post-punk outfit DEADLETTER to collaborate.

When we heard the demo for ‘Line The Cows’ we knew we wanted it and with Make A Dance being more of a feeling than a genre, we knew there was scope to collude. Two studio sessions later and we had it in the bag.

The first version of ‘Line The Cows’ is a combination of both the Make A Dance and Deadletter styles, a synthetic baseline providing a deep groove as the backbone of the track with Zac’s vocals cutting through like a knife.

The second track we recorded the band doing a full live take in London’s Pony Studios showcasing just how tight this 6 piece band are.

On the flip Make A Dance get to work with the remix package with broken beats and arpeggiated baselines, turning the track into a dark twisted monster fit for a 4am bass bin workout.

On his fourth EP, Tim Crombie aka A Psychic Yes invites us to follow him off the beaten track – or dancefloor. With their mix of leftfield grooves, intuitive instrumentation and dreamlike field recordings, these cuts apply club principles to the soundscape of a distant yet familiar world. A bus radio clamours in a terminus in South India. Industrious algorithms go about their daily routines. The sun breaks through a dense canopy, illuminating the damp undergrowth and the psychedelic critters that call it home. Close your eyes and let your mind and feet lead you.

Words by Joe Delon