Beats Vinyl New Releases - News

A boundless creative spirit, Australian artist Paul Schütze has worked for over forty years as a musician, photographer, visual artist and perfumer. He has exhibited at institutions such as the Hayward Gallery, the V&A and Madrid’s Arco, held residencies at the Cité des Arts in Paris and has works in collections worldwide. He has collaborated with musicians from Jah Wobble to Toshinori Kondo, from Bill Laswell to David Toop, and worked both as a filmscore composer and music critic in print.

A new, remastered compilation of key works from Schütze’s catalogue, The Second Law, collates music from various periods and albums. Represented here are tracks from 1990’s The Annihilating Angel, an album of blissed-out fourth-world mystery; from the transcendent homage to traditional Indonesian gamelan music The Rapture of Metals (1993); from the ethereal, spiritual, Nino Rota-esque melancholy of 1991’s Regard: Music by Film. It is occasionally dark, industrial and begrimed; occasionally paradisiacal and breathtakingly elegant. There are works of celestial, astronomic grandeur alongside microscopically detailed miniatures. Empty, deserted spaces of man-made abandonment contrast with studies of ornate natural beauty.

A double-LP comp of timeless techno gems including Jaydee 'Plastic Dreams', Laurent Garnier 'Crispy Bacon' and Ame 'Rej'.

A tribute to a lifetime dedicated to music and athletics, specifically the marathon. A mini album where the melodies are mixed with IDM and electro rhythms, creating a single trip and trying to transfer the listener to what Merinero lives in each marathon he runs.

Something wicked this way comes. Following singles 'Know The Future' b/w 'Digital Warfare' in 2019 and 'Hypersocial' b/w 'Safety Test' in 2020, ESP’s own Patrick Conway has now teamed up with the illustrious Appleblim (of Skull Disco and Apple Pips fame) for a meaty self-titled debut 2xLP under the new collaborative moniker, Trinity Carbon. There is something to be said for art created in the face of global unraveling, while mass transgression and the friction of culture shifting produce poignant commentary, but more often than not, it’s the personal coping mechanisms within our work that have the power to speak directly to the receiver. After a number of sessions resulting in wild imaginative beginnings, it was the untimely passing of Andrew Weatherall and a coming to terms with that loss that moved the two Brits-via-Berlin to herd their roaming sketches into a more narrative statement. In the uphill struggle to retain some sense of individualism, it’s always outsiders like Weatherall whose risks illuminate the roads of creativity less traveled, and when those beacons go dark there is a disorientation felt far and wide. Conway and Blim concede to the internal inquiry, “What would Weatherall do?” bringing to mind the man’s pervading morale, always soldiering onward through mediocrity, as it was undoubtedly an impetus for the duo growing steadfast and chiseling 'Trinity Carbon' into completion. While employing trusted machines in the bass department, they established a warm euphonic home base from which they could stray in a variety of tonal and rhythmic directions without straining a tether to the album’s core. However, as soon as any hint of familiarity may arise, or listeners begin to mentally assign stylistic epithets, the duo boldly change course to remind us that while the banal stay safely defined, it’s the iconoclasts, the outsiders who make us feel.

We are quite pleased to be bringing you this new album of mind-bending, pseudo liturgical and potentially lysergic electro acoustic compositions from Paris based, Belarusian composer Lina Filipovich, entitled "Magnificat". With its dark echoes of early Doctor Who episodes, and it's bent and twisted, industrially tinged and distorted choral decay, it seems at times like an ominous soundtrack to an end of the world sci-fi film. This is the standard vinyl version in an edition of 90 copies.

Stadsbilder ("City Images") is the first collaborative album between Swedish musicians Jakob Lindhagen and Dag Rosenqvist. The composers have both made names for themselves within the contemporary music scene - Jakob as an award-winning film composer with solo music streamed in the millions on digital platforms, and Dag as a highly prolific musician and sound artist,
having over 50 releases over the last 15 years in a vast array of constellations, both solo works and as part of the duo From The Mouth Of The Sun, as well as film composing and music for dance performances. The music on Stadsbilder intertwines layers of organic and electronic sounds, with minimal piano melodies meeting vintage synthesizers, found sounds,harmonium, banjo, kantele, Fender Rhodes and saxophone, as well as cello (played by Sebastian Selke of CEEYS).

Castles in Space is thrilled to present Luke Requena’s debut solo album, “Mirror Stage”. As the Lacanian title suggests, it is a collection of meditations and self-reflection translated into sonic explorations of the space that connects the macrocosm and the microcosm. Inspired largely by Tarkovsky’s film Solaris, the making of Mirror Stage was a musical journey of internal struggle across subconscious landscapes.
Requena is a composer and multi-instrumentalist based in Vancouver, BC. Although his main source of sound is analog synthesizers, he also integrates santur, guitar and organs into his pieces. Drawing influences from artists such as Günter Schickert, early Pink Floyd, and classical Persian music, “Mirror Stage” emits waves of sonic and lush textures while exploring the dark cosmos. It’s a genuinely enthralling work.
Luke has already released a double album, “Nocturnal/Seasonal” with John Jeffrey, drummer of Moon Duo, for the Castles in Space Subscription Library as part of the new age electronic jazz project, Oscilloclast.

Straight from the vaults of one of the most prolific and successful artists in our scene, A Sides brings you three previously unreleased classic tracks to titillate your ear holes! All lovingly sourced and remastered from DAT, this EP includes the never before heard I Know All There Is, and then two follow ups to established classics – a remix of the huge tune “Earthquake” and a part 2 to Alpha 1, called, well, Alpha 2. This limited press is unmissable….

Dark Entries continues celebrating our 10 year anniversary with ‘Preservation Bias’, a compilation of lost songs and rarities from Linea Aspera out June 28th. The group formed in London in November 2011 by Ryan Ambridge (Synths/Programming) and Alison Lewis (Vocals/Synths). Within the duo, Alison writes and performs all vocal elements, while Ryan is responsible for producing, recording and mixing the electronics. We released their debut self titled album in June 2012 that was followed by a posthumous vinyl reissue of their tour cassette “II” on Weyrd Son Records in 2013. For all recordings Ryan utilizes an analog synthesizer set up: Roland SH-09, Roland Juno 6, Vermona DRM MKiii, Korg Poly 800 and Analogue Solutions Semblance. Linea Aspera's sound includes clear influences from 1980s electronic body music, synth-pop, industrial and noise. Lyrically the band incorporates the sciences of osteology, neuroscience, and anthropology weaving a new medical language around themes of desire, despair and renewal. Linea Aspera is the muscle attachment on the back of the femur and translates to 'rough line' in Latin. ‘Preservation Bias’ features all three songs from the limited ‘II’ tour cassette EP, four songs from the 2012 self-titled limited cassette EP and one song from the Desire Records 2013 compilation ‘And You Will Find Them In The Basement’. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each LP is housed in jacket designed by Niall Greaves and includes a double-sided insert with lyrics.

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

Artwork by Tina Frank

Dedicated to Thomas Jerome Newton

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

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

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

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

Transversales is very glad to announce the release of Mémoire Magnétique Vol. 2 spanning 1966-1993, revelatory collection of short and secret music by electronic music pioneer Bernard Parmegiani.
Since the late 50's, Bernard Parmegiani, a major figure of electroacoustic music and a founding member of GRM has created some eighty two concerts music. From the start,
Parmegiani’s work was closely linked to the screen, with dozens of documentaries, films, long features, animation films but also musical pieces for dance, stage or television. If many of his pieces are landmarks in the history of electroacoustic music (De Natura Sonorum, La Roue Ferris…), his application music compositions are strongly embedded in the subconscious landscape of the French public (Stade 2, Roissy Paris Airport…).
The second volume of this compilation allows us to discover some of unreleased rarities from Bernard Parmegiani’s personal archives and unpublished recordings which were composed for the screen or the performing arts.

2021 REPRESS! Robotic, atmosferic, dark electrotechno as we have come to expect from The Exaltics. Reminiscent of old B12, Transmat and Dopplereffekt releases.

Gen Ludd are Glasgow-based Rich McMaster (Golden Teacher, Modern Institute) and Tom Marshallsay, both of whom are a big part of the extended Rubadub family. Their music perfectly embodies the Rubadub ethos of music for heads and feet.

After months of negotiations with our minister of finance Hillington West Snr, TAFKNAGL (That artists formerly known as General Ludd) return with four precise cuts of pure rhythm and motion.

These tracks are a message to the Ramona-toting, gymnasium-powered international dance deejay. Please be bold enough to play them... you'll make the world a better place. We'll give you free WAVS too.

Koehler… he has all that stuff… like the cover: He drew the dragon on the back some years ago. Those sounds… somewhat brutal, even dirty, with mean resonances cutting… The rhythms, unfolded with unflinching relentlessness, bashing the same spot over and over and over, that shrouding shimmer of fantastic otherworldliness… it has strange effects, it becomes so tactile…

Edition of 275, with poster insert in polybag & hand-stamped centre labels. "Sombre hits from Young Echo's O$VMV$M" Mastered and cut by Lewis at Stardelta. Artwork by O$VMV$M.

Two one-man band projects meet together on the very first Global Warming various record : The cold-blooded Scottish sound-ingeneer Sordid Sound System and mysterious Spanish hedonist Sutja Gutierrez. Deeply rock-rooted and drug-infused, this futuristic western soundtrack opens with ‘The Void’, a arid dub jam, heavily hallucinogenic and ‘Meanwhile, When Times Turn Bad’, schizophrenic punk jam both recorded from Sordid Sound System’s redwood forests new studio on Northern California. On the other side, the lone ranger Sutja Gutierrez takes us to a dystopian horse ride into shady woods and grey plains, with ‘Everything Leads To An End’ and 'Beheaded Angels', two sensible journey, blending goofy drums, creepy synths layers, heady weird vocals and binary guitars for a unique and mighty melancholic mood.

It was the mid 80s. A musical revolution was already steamrolling throughout the French West Indies when the band Kassav' produced what was to become the sound of the decade. With a now wider use of synthetic and digital tones, the "zouk" wave literally swept away to sea the biguine and cadence from the West Indian musical landscape. While this took place, some musicians chose to make an alternative use of the new techniques brought on by the advent of synthesizers. Musicians like Serge Fabriano.

It was back in 1980 that Serge, a talented young musician from Guadeloupe, while studying for a degree in 'Arts & Informatique' (Computers & Arts Cycle) at the Université De Vincennes near Paris, discovered early computer-generated digital music (MAO in French) thanks to his roommates, who both taught computer-generated graphic arts. In 1982 Fabriano and his Fabriano Unité Zion project recorded, with the help of Alain-Jean Marie, Mario Canonge and Pierre Labor, Cosmik Syndika*, which to this day remains a masterpiece of made-in-Guadeloupe Caribbean jazz.

The following years saw him tour the US and Canada as well as several other countries. By 1986 he was back in Guadeloupe, teaching music in the secondary schools of Point-à -Pître and Sainte-Rose. While doing this, his ongoing passion for the budding MAO led him to kit himself out: the Yamaha CX5M (MSX Music Computer), the Macintosh Plus, the legendary synthesizers DX7 and DX11 and several other early rhythm machines became his new toys.

Him and his partner at the time, Marie-Reine Lamoureux, who was also both a teacher and a musician, as well as a member of the Fabriano Fuzion project, decided to involve their pupils in his electronic musical experimentations. They recorded an album, composed of five tracks deliberately titled Demain, under the name 'Digital Caresse' (the idea behind this was that instead of hitting the percussions to make music, one stroked the computer keyboard to coax a sound). The combination of the children's choir, enchanting wonky flutes, saturated electronic beat and cosmic atmosphere perfectly outline the purity of this rough diamond.

Voltage Festival is releasing a compilation of 4 EP's to celebrate five years of existence. The EP's are dedicated to four sub-genres of techno and represent the versatility in techno of Voltage Festival's line-up.

The series starts off with a classic techno EP called ‘Zener Diode’, followed by a deep techno one called ‘Wiring Harness’, an industrial release with the name ‘Circuit Breaker’ and closing with acid techno called ‘Resistor’. The artists featured on the releases already made their appearance at Voltage Festival, or are playing on this year’s edition.

Via a trio of critically releases for the CPU label (two EPs and an album), Sheffield born Evan Majumdar- Swift, AKA 96 Back, delivers an eclectic EP for Hypercolour.

Leaning on, but by no means restricting himself, to the bleep roots of the Steel City, the ‘TBQFH’ EP assembles four highly accomplished tracks of head scrambling and fearless electronics. From the beat science of ‘Fe Symbolic’ to the widescreen sound palette at play in ‘Party Animal’, 96 Back flaunts a distinctive and bold dexterity.

We are not where we live, but the valley we built'
Enjoyment through suffering. Beauty in chaos. African Ghost Valley apply these principles to create their heavy doomsday electronics pulled in from the Black Bunker; a D.I.Y space under a multi-story car-park.Separated from any scene on the surface, the record was put together by European / Canadian duo Childle Grangier and Gabriel Ghebrezghi;a partnership formed in the heat of heavily improvised recording sessions, where the pair would thrash out their versions of power electronics, industrial waste drops and rhythmic dub rumble to the cities homeless.
Keeping these raw fnal cuts away from any studio trickery, the microphone would be left on to archive feld recordings and wayward audio drops, capturing the hum and lifeblood of the 'Bunker and the wheezing lungs of the dense concrete that surrounded them. Titling this work 'Colony', the album is a open-ended and multi-edged tool for AGV to explore, allowing the listener to interpret the work as they see ft, bringing to mind images of corroded space settlements and the darkest recess of human history. You decide.

Andrzej Nowak is a polish early computer music composer who never found proper place in official contemporary music world. Tracks produced between 1987 and 1994 as a score for never screened animation movies (the producer didn't like them). Lines of simple sounds, interrupted by primitive electronic trumpet and other fake instruments. Are you sure it's a film score What was the thing that producer didn't like Weird harmonies or too much rhythm

Already crafting an exceptional body of musical works, over a trio of albums and numerous EPs, Bergsonist tees up a release for Hypercolour that melds meditative ambience and cosmic electro over four cuts.

Hot on the heels of her last album, ‘Middle Quest’, on the Optimo Music label, Bergsonist opens the release with a collaboration with Missouri based singer/songwriter, Tonina. Three other tracks cover a palette of unhurried and atmospheric head music.

DJ Support
Julianna (Move, Medellin) ​- Womankind's Beauty, loved it!
Honey Soundsystem​ - Thank you for sending this one, big Berg fan
Doc Sleep ​- another fantastic release from bergsonist!
Anthony ‘Shake’ Shakir ​- nice and moody trax
Chris Duckenfield​ - Loving the mogadon slur of Take It Slo & Global Warming
youANDme​ - nice atmospheres!
Auntie Flo​ - love this,will play on my WWFM show
Omega III ​- Some steppers on here
Nathalie​ - Womankiind's Beauty is great!
Cristina Plett ​- Especially like womankiinds beauty and killed by aids (very moody!)
Vincent Floyd ​- Great music and intriguing titles
Mashinski​ - Killed by aids is great
EMA​ - dubby-delights
Jaye Ward​ - real life militant behaviour! loving how dark the tracks are but with loads of bendy bits too..
Ciel​ - Selwa always shows and proves. great work :)
DJ Guy​ - Great EP, really nice!
Katrien Schuermans ​- Her output is so versatile. Nice!
DJ Three​ - Womenkinds and Killed for me... thank you.
Brad Stabler​ - Really enjoying all of Bergsonist's output as of late. This EP is an excellent follow-up to her last record.
Anja Schneider​ - Love it
Eluize​ - Stunning!!!!!!

Steve Spacek aka Blackpocket is a relentless creative. It's truly woven into the fabric of his soul, create by any means necessary.

The debut Blackpocket project was also the Debut release on Exit Records, a truly family affair as Steve is the older brother of dBridge. The album acted as a signal of what was to come for the groundbreaking label & artist. Any expectation of tempos and sound pallets were treated with a respectful disregard in order to reach another place of design.

Blackpocket now gives us his second offering- ALAYLY, seven tracks that remind us who is the king of electronic soul music, comfortably existing in a space that is hard to deny or indeed replicate.

A child of punk and noise, Pierre G. Desenfant, under the Blackthread monicker, pursues the multiple incantations of an immersive and inner quest, carved from the limbo of his own dreams, cinematographic miniatures where the intimacy of words and spoken word meets the chiseled luxury of analog machines.

In his songs of a new century, Blackthread experiments with the precision of the scalpel, an outstanding storyteller floating on vaporous synthetic mist. Sumptuous magnetic clouds in which balances an emaciated bass, choirs on the horizon, a soul keyboard or a minimal, almost hypnotic beat. We slide between scenes in sequences, carried by the echo of this voice dancing between the murmuring and the sung, hints of Gil-Scott Heron flirt with Pansonic, Coil and Eno-esque ambience.

Written and constructed over three years, his third album The Way You Haunt My Dreams was recorded with urgency in only a few days, with the contribution of sounds from friends Béatrice Morel, Frédéric D. Oberland, Stéphane Pigneul deOiseaux-Tempête, Rémi Dulaurier and the complicity of Johannes Buff (Zombie Zombie, Lee Ranaldo and The Dust, Enablers) in the mix. Contemporary photographer Gaël Bonnefon illustrates the album with his striking silver-toned clichés.
Sparkling with a sensitive bark and piercing directly the heart, Blackthread delivers with The Way You Haunt My Dreams a black and red diamond, addictive hollywood wandering, already blending into the night to haunt dreams in technicolour.

Blackthread is a story of development. Removing the traditional guitars and drums of noise rock in which he made his more conventional apprenticeship, Desenfant has reached a minimalistic formula in finding a new path. Constructed with minimal tools (a bass, analog synthesizers and his voice), his music, after these few years, expresses a plethora of sounds and feelings. Spoken words, whispers and explosions, this disciple of Brian Eno, Silver Apples and Alva Noto writes a beatless techno, rock devoid of guitar, an ambient enhanced with texts of icy beauty.

With The Way You Haunt My Dreams, Blackthread grapples with the tension of a certain genre of dark rock and literary post punk, superimposed in ambient music. Continuing with this sense of mood, Desenfant succeeds with this new album in developing a rare songwriting in experimental synth music. Blackthread is also a story of the voice. Never suffocated by acoustic research, the words of the vocalist give this disc its depth of personality, somewhere between neuroleptic reverie and confrontation with the musician's catharsis.

Electro-Chanteuse und ex-Model Carmen Villain überzeugte 2013 auf ihrem Debütalbum "Sleeper" mit einer Melange aus Royal Trux und frühen Sonic Youth. Auf dem Nachfolger "Infinite Avenue" präsentiert sie interessante Kollaborationen mit House-Produzent Matt Karmil (mehrere Tracks), Noise-Improvisator Helge Sten aka Deathprod ("Quietly") und der norwegischen Ausnahmesängerin Jenny Hval ("Borders"). Das Cover zeigt Hollywood-Ikone und John Cassavetes-Partnerin Gena Rowlands.

New Norwegian label Oblivion Dip outs two dense 15 min long tracks, both mixing field recording and sonic processing as if it would be captured live by an objective microphone from an underworld. A clattering & seemless soundscape of fridges, motors, birds from the Philipines and soft hissing atmospheres all the way through.

Pressed to 180g heavyweight vinyl. First 100 copies come on transparent vinyl. Artwork by Jazz Syu-Ying Chen, original drawing commissioned for the album. 'Compelling stuff' - FACT Magazine
Eomac is back in 2018 with a brand new album. After an intentionally quiet release schedule in 2017 to focus on developing a new label and presenting a monthly show on Radar Radio, he returns to the album format with the 11-track 'Reconnect'.

Im Klanggarten is the very first release on Frank Wiedemann's newly established Bigamo label by the musician, video artist, author and DJ Rainer Buchmüller aka "Fred und Luna" from Karlsruhe/Germany.
It began as an homage to German electronic music of the 70s and 80s known as 'Kraut'.
However, Rainer gives his style its own name: "Elektrokraut" or "Krautelektro", in which he blends Kraut elements, such as repetitive rhythms, with beautiful melodies and modern electronic sounds. This LP comes as a double vinyl in a gatefold cover!

Ask Will Wiesenfeld to contrast his project Baths with the music made under his Geotic alias, and you'll get a simple response: Baths is active listening, Geotic is passive listening. But behind this straightforward duality exists two projects that are equally poignant yet starkly distinct, reflective of the emotional complexities of its creator.

Don't mistake passive listening for anything remotely resembling apathy. Over the course of nine self-released albums plus a handful of singles & EPs (all released on Bandcamp), Wiesenfeld has certainly proved the contrary. With Abysma, his first release for Ghostly, Wiesenfeld solidified this notion as Geotic makes his label debut in tandem with the projects first ever physical o ering. In 2018, Wiesenfeld presents his second full-length for Ghostly: Traversa.

Part of Wiesenfeld's inspiration comes from his own domestic situation. A native of the San Fernando Valley of Los Angeles, the classically trained musician has settled on the Westside, inhabiting an apartment a short ride from the ocean. "It's a relaxing and slightly displaced vibe that informs the project. It's full of art everywhere, all my comics, an amazing media set up," Wiesenfeld says. "It's all the stu that I've saved for and wanted to have in my life but didn't feel comfortable until I moved in here. We nested the shit out of this place."

Rough, tough, tumping, bumping soundboy breakbeat from the Caribbean coast of Colombia.
Forty brand new buckaroos, tooled and primed by Jeanpi Perreo, Edwin Producciones and DJ Ander — all from local sound-systems — careering guarapo-style out of punches of vintage Nigerian highlife, waka and co, by legends like Steven Amechi, Sagbeni Aragbada and Cardinal Rex Jim Lawson.
Edited and mastered by CGB at D&M for maximum oomph and worries, and presented in a gatefold sleeve with cool and deadly varnishing. Plus a full-size booklet detailing the fascinating history of this music, seamed into the strange, tentacular byways of hand-to-hand vinyl distribution, record collecting and musical connoisseurship, and the soundclash traditions of the region, suffused with the politics and culture of the Black Atlantic, stretching back to the 1950s.

Spanish artist How to levitate presents his first ambient release entitled ‘’Oceans’’. Greatly influenced by drone, ambient, field recording and synthesizer music scenes, How To Levitate utilises aspects of all such styles to paint a day by the ocean in which the listener can follow the development of such day via movements and intermixtures of recorded nature flowing into synthesizer universe and through to the slowly bubbling rhythms of techno as to reflect the nature of ocean’s own defiant movement and changes throughout a day.

Les Graciés is a collaboration in the truest sense between Paris-based sound artist Gaël Segalen and Deepblak co-founder Afrikan Sciences. Segalen's experiments in electroacoustic sound met the wider world this year via a debut LP for Erratum, an arresting work that showcases her ability to merge hypnotic murk ala Angus MacLise with the hard concréte of Parmegiani & Reibel. Segalen's IHearU imprint / organisation is a platform for her various doings, including psychogeographical audio works and multi-media collaborations, as well as servicing as a reference point for other contemporary female artists working across various mediums. Eric Douglas Porter aka African Sciences has been deconstructing and re-building forms of contemporary Black music since the mid-2000's, through releases on Deepblak (the label he co-runs with Aybee) and PAN. His musical universe is one of warping cadences and celestial melody, referencing the bold work of percussionists like Milford Graves & Art Jenkins, the dissonant chords of Motor City Techno and stripped back essence of early Chicago House matched with broken Hard Bop sentiments: all tied together with an aesthetic that sits somewhere between Sun Ra's omniverse, Jean Giraud Mœbius and Dogon cosmology. Together as Le Graciés, Segalen and Porter make a wholly unclassifiable strain of music that, while containing recognisable elements of each individual's work, also creates a third entity in the process, which can be heard to stunning effect on their forthcoming debut LP 'Low Doses' for Firecracker Recordings.

'Serendipity' - defined as making discoveries or happy accidents - is the debut EP by Liam van Ryn. It's a fitting description for the richly textured and cinematic four track collection that was the result of intensive and prolonged sessions 'goofing around' on analogue gear. Strictly limited 12' pressing - this is a hell of a debut - one to watch for the future! 'The title track is the most immediately wonderful cut here, with choked arpeggios, clouds of caustic static and found scrapes as percussion.'
DJ Mag (8/10 EP Review)
Early support from:
Nathan Fake - 'Interesting lush sounds'
Lanark Artefax - 'Sounds great and is really coherent for a debut EP'
Tessela - 'This is wicked man, really like that Pitch1!'

Based in Hull, van Ryn makes richly textured and layered, cinematic music that is both experimental and (mostly) electronic.

'I was interested in the way I could make the music sound slightly unnatural, or like it couldn't be played by a real musician, even though that was often the starting point,' he explains.
An alumnus of Gilles Peterson's Future Bubblers project (a grassroots talent discovery and development programme), he was commissioned in 2017 by Hull City of Culture to write and perform a tribute to the pioneering work of local hero Basil Kirchin - an outsider musician, free-thinker and pioneer of sound manipulation.