Beats Vinyl New Releases - News

Glasgow-based musician and producer Lo Kindre is at the heart of his local electronic music scene. He has previously released on Optimo Music and is a serial collaborator with MR TC, most recently launching the Phase Group label together. He’s played on Red Light Radio, LYL Radio, supported the legendary Adrian Sherwood, and put out records with the widely lauded Austrian label Neubau as well as Glasgow's 12th Isle.

Private Worlds is Lo Kindre’s most thoughtful and introspective release yet, seeing him reach once again for the spaced out dubby recesses of electronic music, adding-in a ladleful of drone and some choice samples to create something that sounds fresh and new.

Meatbingo returns after a lengthy gap following his 2013 Skam album 'Trendy Robots' with a brand-new LP of his trademark precise micro-edited cutup-funk on Fonolith. 'The Error of My WAVs' contains eight fresh tracks of tightly-wound, laser-focused disco chaos. Like a dizzying hit of a future dancefloor drug administered digitally into your avatar's holographic brain. Augmenting his intensive sample-mashing approach with bass guitar playing and scrambled up elements of his own back catalogue, 'WAVs' sees producer Neil Scrivin further evolving and expanding the limits of the Meatbingo sound.

With the Shibboleth EP, Osaka based artist Metome delivers a fierce sonic collage: experimental to its core, it presents a vibrant embroidery of sound where the spaces in between are as important as the stitches themselves. Arrangements composed of fluoro synth leads, Rhodes chords, tumbling bass, chopped vocals, pitch modulation salvos, and nuances that evade definition fester and rub up against one another. These intensely tactile and flexible elements are rendered through an intricate filter shaped by pop music, grime as well as nu-jazz into punctured grooves that aim to knock the listener askew. Although they brook no dissent and no compromise, they evidence that polish and power are not mutually exclusive. As striking as all the fragments are in isolation, at the heart a solid sense of harmony remains. The sections that make up the tracks are compressed into terse blasts, lined up one after another, lending the record a distilled character. Transitory nodes supply balance as much as they suggest the imminence of acceleration or collapse. The EP was envisioned as the soundtrack to a fantastic aerial dance: an interplay between movement and reticence, levity and weight, and attraction and rejection is indeed overall. With an ambient iteration as curtain call, a moment of composure does eventually arrive. Although a sensation of peril never quite leaves, it provides space for exhalation.The Shibboleth EP is the first release on supərpawərz, a Brussels based contemporary electronic music platform. Mastering by Jeremy Cox. Art and design by Oliver van der Lugt.

RYSUNKU is proud to present it's newest signing, esteemed producer Noble Drew Ali aka Morell Maison. The artist will be launching the new signing with his debut EP 'Natasha'.
Though the artists own music production has hardly yet revealed itself, his presence within the industry has been far from unnoticeable. NTS Radio monthly resident and renowned as a substantial contributor to the artistic development of contemporary electronic music.With his debut EP, 'Natasha' , audiences will finally be able to experience the more personal outcomes of Noble's musical approach so far. Here we hear Noble Drew Ali exploring a sonic architecture of sweeping yet poignant baselines and fragmented percussion. The first listening experience to have evolved from Noble's cultivating musical journey. Lovingly pressed on an extremely limited run of 300. Five stunning tracks on 180g black vinyl featuring artwork by Gareth Horner. Rysunku is truly honoured to be releasing this music.

“Berceuse Heroique is very proud to announce that one of our biggest heroes is going to be our next release for this year. Pinch, one of the seminal members of the Bristol scene, is kickstarting a trilogy of 12"s that we call "an ode to sound system culture", trying to invoke the long lost spirits of pure, heavyweight, hardcore hedonism that stems from a lot of sub genres of British dance music culture. Border Control fuses the industrial aesthetics of Birmingham techno and the jungle techno pressure of the early 90's and in the end it sounds like a fight anthem against Brexit. Fortune Teller will test any soundsystem with that Dillinja-esque bassline and Loose Cables could easily be the younger brother of one of Pinch's most underrated tunes, The Attack Of The Killer Robot Spiders. Pinch runs the voodoo down one more time and he sounds pissed off and more fresh than ever.”

British producer Portrait next on Aura LTD! The label head returns to Aura Dinamica for Environments One. The project pairs paintings produced by the artist, with music inspired by the creative overlap between the two processes. Working back and forth between the two mediums, the artist builds up a conversation that looks at depth, texture and dynamism in both spaces.

"Rendezvous is an EP comprised of tracks that are a departure from what I normally do," says Postepski. "The tracks didn't quite work on the album (Progress) but I felt they shared a weird Krauty EDM vibe. The artwork was done by Faye and Gina in Paris. I love the concept they tied in with the single, Rendezvous: a meeting with someone that is arranged for a particular time and place and that is often secret."

Hello Moon is a unique collaboration between Professor Tim O Brien from Jodrell Bank and Stargazing Live and music producers Jim Spencer and Dave Tolan who have worked with New Order, The Charlatans and Echo & The Bunnymen. The idea was simple - to make the sound archive of Jodrell Bank into a hit single/dancefloor smash using sounds from the big band to the present day, from sounds sent to earth from all over the universe.

The results have been made into a moon shaped picture disc with Professor Tim running through the origin of all the sounds on the B-side. Billions of years in the making

ptwiggs brings the surrealist violence for brand spanking Sydney imprint Deep Seeded. Taking an erratic hairpin turn after DSR001's off-piste techno, PURGE comes off like a tragicomic thriller, swerving between saccharine sensitivity and brutal ultra-violence in the blink of an eye.

Shit is rough in ptwiggs towers, dishing out relentless Tyson jabs to the head on 'Day Of Wrath' with Holly Herndon's inverted poltergeist drifting about between the blows, while 'Lara Dies' seems to execute your favourite video game character a trillion times per second just for laffs. But it's not all blood and guts rendered in vivid HD. Coil-axis twinning of demonic and angelic energies course through 'YYYY' and drift below the surface of the more berserk pieces. Not for the faint of heart but life's probs beaten the feeling out of you at this point anyway.

For the second installation of the limited catalogue GODCUTS, we are happy to present 5 original Quicksails' tracks with 3 remixes by Brett Naucke, Khaki Blazer and Austin favourite Shit&Shine.

Ben Billington aka Quicksails is a polyedric musician very active in the Chicago scene, with a stringful of releases on different labels, among them the mighty "Mayville Dream" on Spectrum Spools.

On side A he explores the world existing between electronic and acoustic, with very unique and interesting results, not actually comparable to other stuff we've already heard. Check the clips to listen to what we're talking about.

On side B his Spectrum Spools colleague Brett Naucke transforms "My Moon" in a cybernetic dream, while Khaki Blazer goes on a different direction, moving toward a 4-legs transgenic footwork.

Closing the ep is the remix version of Craig Clouse, who puts the original version in his special washing machine for a heavy laundry that gives you back everything way more dirty.

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Available in a non-specified number of copies, these releases are hand-cut on vinyl by the label itself.

Vinyls are all transparent, without the paper center label but with a white silk screen design + hand stamped cat. number.

They will also come with a brand new series of cover artworks designed by Airbag studio, realised with white silk-screen print on black paperboard.

On the inside, an internal sleeve with another artwork + all the info about the release.

Due to this, the final price will be higher than the standard GOD catalogue and every shop is asked to take no more than 5 copies, in order to let everyone have them.

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Excavated from a now lost cassette, 'CRG77' is a series of improvisations conceived of little sleep and minimal natural light. Perhaps best described as the sonic equivalent of a strong indica, contorted dance music under the influence of a forty year old echo pedal. Hidden Village is a new London based label with no agenda and no direction. Created by R.ess 048, a pseudonym for members of a well known South London crew who wish to remain nameless and were behind one of last year's most forward thinking underground releases. 'CRG77' is an after hours excursion into the deepest depths of the weed-box. Comes with ultra-Lo-Fi A4 b&w insert designed by one of the crew. Punk as fuck. Mining the same dusted plains as fellow travellers SVN, Madteo, Sex Tags, Regelbau etc etc

RITES OF PASSAGE is an obscure artist from Moscow delivering the first release on new imprint BORE HOLE with some very personal lo-fi recordings showcasing his raw minimalistic style with trippy tribal sound excursions!

Another brilliant set of pop-meets-pop rodgerings by De Murcia of no mercy, this time riding East for inspiration, following his notable Wasted House EP from last year. Five sharp and discombobulating detournements: funny, flatulent, sexual, knockabout, unpretentious and danceable. Ace.

A composition of treatments for adapted piano harp and electric guitar.

In 2016, I managed to salvage a piano that belonged to my brother and had spent four years sitting in a garage. Getting it home nearly killed my van. The first objective was to strip the harp and mount surface transducers to it with the hope of being able to excite the strings and ultimately explore a tuneable sympathetic reverb. After a lot of trial and error, workable results were produced which became the foundations for Relief Tours.

The album was recorded over six months or so with tracks typically centering around one or two objects - some kind of treatment for the piano and improvisations on electric guitar. Experimenting with the objects is never something I've been particularly scientific about by any means, nothing more than the basic sequence of continuing to develop the best results that had emerged from the previous experiment. Concepts were typically very simple e.g. getting percussive overtones from the piano strings. My usual approach is to sketch some possible methods then just begin, so in this case it was tugging winds of horse hair and then settling on an angle of about 30°. This produced the deep bell like sound that can be heard on Benthic Salvage.

Certain sounds would often dictate the course of things. For example, the juddering of a rubber ball being dragged down a smooth surface would, in turn, result in trying to recreate the same percussive movement on the piano harp with a car spring and some big magnets, which then went on to provoke something else and so on. The results would influence the next decision and eventually a track would begin to take shape. Each track hosts a small group of related ideas like this with the tonal work often being the last stage - improvised reactions to the textural parts.

The physicality and movement of the sounds, and the instrument-like properties that came from experimenting with objects, both sonically and tangibly, were really the driving force behind the record.

Queen Sound' is an album inspired by a visual world governed by whetted femininity, populated by impish silhouettes, twisted bucolic landscapes and wide-windowed interiors.

Sunatirene is the solo project of New York via Baltimore musician and sound artist, Sydney Spann. She uses archival samples, strings, field recordings, chance operations, and lyric poetry to fashion melodies within soundscapes. Spann's live performances often incorporate a rotating theatrical iconography to match sonic motifs. She released her debut full-length ‘Trepanning’ via Ehse Records in 2015. ‘Queen Sound’ is her second full-length, and her first release on She Rocks!

Dark Fields stands out from the barrage or recent Spanish experimental-industrial underground
re-issues as one of the most obscure and surrounded by mysticism.

One massive track with no cuts, recorded in 1979 under the motto "a silence that makes dogs bark" and released by Klamm in 1983 in a tiny edition of 300, the trio disbanded shortly after finishing the recording and never looked back.

Darker than tar atmospheres with Resident's like vocals, this is the brainchild of Caballero T's obsessions with Brian Eno's work, who found the perfect partners in Tres' psychotic vocals and the studio wizardry of Señor Nada. Reissued by Madrid's Equilibrio, who already gave us Randomize's ¿Como se divertirán los insectos? Not for the faint of heart. Get yours while they last

Words that capture this resultant outcome. A spectral haze of subconscious, living rhythms. A meeting of mind-tribes. Close; Kudo; Ruscha; Tripp. Hear, the discovery of Tkil.
Such collaboration can bring powerful interests, mixing diversity with vivid psychedelic motions. Soundscapes of improvised beats, jamming intersections float and pierce the sonic sphere. Aural poetics illuminated across satellite optics, NYC-LA-NYC-LA.
The quartet creates in a non-linear, multiple level, liquid sequence. Four individuals, their subtle personality's reiterating sonic textures to form cascading minimalist atmospheres, chimes and percussion - diffused harmonics of ethnic vortices descending endlessly. Acting as coordinates that search for their source, a purity of multiplicity is presented.
Together these are focused experiments, raga-like meditations of precious expression from artistic connotation. Visionary; subtle; mysterious. Their essence an eclectic blend of composition, a natural but technical expression of cosmic minimalism and world music influence. The outcome is a magical encounter of artists finding a creative affinity, sweeping downstream on a rolling rhythmic magic muse, beyond a bizarre excursion to capture the thrill of modernism, moments that reach the soul of alienation and togetherness in equal, savant, infinity.

Juddering bangers and hypnotic body-rockers, dazed spells and rootical wig-outs spun from early Detroit, West African field recordings, dub and beatbox hip hop; rough as fuck and clatteringly percussive, but shot through with a gritty numinousness. Soundboy techno; Stokey worries.
Gorgeously sleeved in midnight-black art-paper, intricately printed in silver with the visionary photography of Katrin Koenning, folded by hand and packed into Japanese cellophane envelopes.

Unslaved's 'Punjab' is a journey through three unconventional club tracks, hear genres entwined, sounds broken down and set free in the most spell-binding way. First track 'Punjab' is an eight minute creeper built from insane drum patterns and layered with an eerie, yet blissful melody. With an almost ambient quality, Punjab is an off- kilter yet perfect. On the ip, B1 'Apogee' is a dark masterpiece with the rawest, yet most striking of characters. A track that wouldn't have been out of place in early dubstep or grime circles with a spine-tingling bass line, 'Apogee' has that sparse, stripped-back feel where listeners discover hidden elements on each listen. Exploring the murkiest corners of electronica, 'Apogee' is an intense mover that sets a high standard for the release.

'TTA' or 'Tom Tom's Advanced' makes up the nal number on the 'Punjab' EP's trio. Just as dark as 'Apogee' and just as eerie as 'Punjab', 'TTA' casually switches from genre to genre and could easily be the soundtrack to a video-game (on acid.) Mind- bending build-ups, mystery samples and wavy breakdowns make 'TTA' a twisting and turning journey through the underworld of dance.

Living in a post capitalistic desert, rural south holland, the only social meeting point, your local
LIDL (europe's number1 food retailer), must be GOD itself.

JAHMONI proudly presents - The World of VENDERSTOOIK - that weird & enigmatic
collective with its vibrant online community having pushed some sound for years beyond
comprehension, a genre of its own, rooted in Gabber, Goa & Rotterdam Techno.
This Situationist Ensemble will explain to you why Indian Week at LIDL is not just a marketing
move but more an inspirational sending from God urging you to find spirituality in places and
things that seem boring and dull at best.

As certainly one of the most promising shooting stars of european underground techno in 2016,
having toured thru central europe, with their contribution to the break-thru release BATTLE
BREAK on the frontier label PRR! PRR! - 'We don't understand this record, but you need to
have it' (UK Music Press) - having reached wider audiences, are now back with a puzzling 30
mins Vinyl ranging somewhere between EP and Album.

It wouldn't be proper VENDERSTROOIK if they had all done it themselves, of course. In the
spirit of their grown grassroots DIY producer community, hammering out tracks daily, reviewing
and remixing simultaneously, this record has at least 5 different acts aligned together while it is
not a compilation, more a cohesive concept album exploring the borders of dark techno, burialstyle
dystopian techno dub & noise.

Letting BELP from Munich start off the A-side with a polyrhythmic, glitchy post dubstep club
track with spacially distorted noisy wobble basses and a challenging arrangement for most
dancefloors, moving to a more stream-lined techno track very much in the same vibe from
finnish producer SECT-ION over to Zaquoir from Leipzig (whom we know from SVS Records)
to end the A-side with a more ambient amalgamation of field recordings with dub elements
ending in a natural sound environment.

Turn the record over and VENDERSTROOIK finally teaches us how 15mins of dubbish
minimal dark techno remains fascinating, never seems to end or to repeat itself the slightest.
Based on material from UK-based MENOPAUSAL HOUND DOG, this epic tune, though
minimal, slightly shifts and phases the few elements of this dubbish dark techno track resulting in
an endless build-up that should make every listener happy even unfamiliar with the peculiarities
of the VENDERSTROOIK universe.
Busy preparing their own label as the natural next step for future releases, meanwhile JAHMONI
is honoured to bring you this release as 200 copies limited hand stamped white label 12'.

Wonderfully wayward electronic vectors from Dorchester's Yaaard, aka Chris Catlin, overseer of sleeping giant Reckno Records. How to Download a Glass of Water compiles work spanning the breadth of Yaaard's conscious output - from gorgeously folding magma through to serrated dancehall and icy r'n'b introspection. This LP contains two previously unreleased tracks: the lo-fi slow-burner "Forses", and "What Now", a soaring outsider pop duet with Teresa Winter (The Death of Rave).

How to Download a Glass of Water will be pressed to a limited run of 300 records, with artwork by Paul Greenan and Chris Catlin. A giant A0 print of Paul's cover art will also be available. Out May 31.

On the A1 cut is none other than Om Unit, who flips the original of the track ‘Hold on’. Mr Unit takes the original Piano hook and puts some serious weight behind the drums and baselines to give this remix a classy drum & bass twist. The remix contains a very distinct Om Unit flavour and is a collaboration of the highest order.

For the A2 cut is a Deep Heads favourite, Nottingham due Congi. Congi have stripped back the vocals for their remix and added their signature sound. The beat work is remarkable and all round production is impressive. A fantastic display of what these 2 talented producers are all about.

Then on the flip side and for the B1 is the one and only Ash Walker, with his interpretation on the track ‘Stars Glow’. Ash pitches down the original vocal and takes this remix somewhere far away from this planet. It’s gritty, twisted and bursting at the seems with low frequencies.

The beats and hard and punchy and is certainly one for the sound system crew. Finally for the B2 side is LA based producer Feverkin. We’ve had our ear on this talented man for a while, so is a honour to have him giving us some of his Feverkin flavour. His remix of ‘Night Wave’ is exactly what we were expecting from him and does not disappoint. He adds some signature 2step beats and sounds that can only be described as Feverkin, but keeps some of the original energy and mainly vocals for this incredible remix.

After more than a decade of deep, expansive productions on labels such as Detroit Underground and CPU, Annie Hall arrives on MUSAR for a record typically rich in texture and understated grooves.

Opening track 'Linium' immediately seduces listeners with a complex drum pattern that somehow feels spacious, subtly twisting and turning its way around Hall's analogue world. Dutch artist Mattheis maintains this understated feel but adds a soft, compelling kick in response on his suspenseful remix of 'Lavandula'. The original, moodier version of this cut the follows to open the B side, gradually erupting around a killer distorted bassline. The EP continues to hit a more urgent note with the tense machinations of 'Silene', where dense layers of stuttering, frenetic drums interweave with Hall's trademark, melancholy keys. The record concludes on a weightless, transcendent note with 'Santolina', taking each visceral element featured thus far and slowing each down, with affecting results.

Indebted to vintage electro and IDM, Hall's music is no throwback, always looking forward and moving dancefloors in the most unexpected ways.



DJ FEEDBACK

Early support from



Michael Mayer (Kompakt) : Nice vibes from Mattheis... will play for sure!

James Zabiela (Born Electric) : Linium is a nice one, thanks.

Arnaud Le Texier (Cocoon / Chronicle) : Nice music. Thx!

Marcel Dettmann (Ostgut Ton/MDR) : Thx!

Carl Craig (Planet E) : Thx!

Gonno (Beats In Space Records / Endless Flight) : I like Mattheis' :)

Thomas Hessler (Index Marcel Fengler) : Nice one! Thank you!

Slam (Soma) : Thanx

Âme (Innervisions) : Thanks

Blasha & Allatt (Meat Free / Manchester) : Amazing!

EREZ / John Byrun : A superb EP

Tom Lye (Melodic Distraction - Liverpool) : Big fan of the whole EP. Strong, building electro with different moods. Essential!

Afrodeutsche (NTS / LuckyMe / Skam) : Glitchy melodica... Right up my Strasse...

DJ Shiva / Noncompliant (Valence / Detroit Underground) : Stellar music here. Moving beyond "DJ music", this is just really fantastic to listen to in headphones. Gorgeous stuff.

Lonya (Asymmetric Recordings) : Great stuff here!

Nori (Posivision) : Cool work.

Cinnaman (Rush Hour / Naked Naked) : Lavandula and Santolina are my favorites! thanks

Dj Windows XP (E-Beamz) : Dope E.P. Will play Lavandula.

Ambivalent/LA-4A (Delft/Cocoon/Ovum) I'm a huge fan of Annie Hall and Mattheis!!! This is a FANTASTIC release!! One of my favorites of recent months just on first listen!!

Benoit C (Tsugi) : Linium for me

Ian Blevins (ESP Institute / Sulk Magic) : Linium and another bit of top work from Mattheis. Santolina is pushing my buttons too. Aphexy vibes.

Joe Europe (Ransom Note) : Very nice!

Azterisco: Very interesting record. Nice remix!

Oded Peled : What a fantastic release! Was hard to choose a favourite between Linium and the Mattheis Remix of Lavandula. Both will come in handy in my sets. ....Thanx a lot and keep em coming.

Naduve (Cocktail d'Amore / Disco Halal) : Both A1 and A2 are great!..Thanks.

Anastasia Kristensen (Nous) : I dig this a lot, it's a crazy well produced record.

Demia E.Clash (Darknet) : Such a good ep-.i love them all,quality production yess.

Pedro Martins (Karakter Records) : Nice EP overall. Linium, Silene, and Santolina are my favorites. Thank you so much!

Xinobi (Discotexas) : Great record. I'm specially enchanted by the original version o Lavandula. Congratulations.

Scan Mode (DJ Mag Spain) : Lavandula in both mixes for me

John Osborn (TANSTAAFL) : Can't pick a fav. it is all Devine. thank you.

Madloch (Sound Avenue) : Nice EP, Linium & Lavandula original are my favs, thanks.

DVS NME (Transient Force) : The standout track is Lavandula.

Furthur Electronix breaches the milestone 50 releases mark! To celebrate they deliver a perfectly executed “FE” style EP from Lou Karsh. Limited copies..

It's a welcome change to see the dance music industry shift from a sausage fest to a decidedly more diverse scene of artists and DJs, one where challenging and marginalized voices can be heard.

MISS REPRESENTED has such a voice, raw and fearless, an educated woman of experience, who has lived her life on the dark side of Scotland's acid house scene, where she has found plenty of food for thought.

Co-produced by Thomas Von Party of Multi Culti, who enlisted the talents of Kris Baha and Matt Karmil to mix, and brought in the elusive UK-underground legend Johnny Aux to rough up the already rugged Crack That Habit into an extended house banger.

If there's one thing dance music is guilty of, it's escapism. A refusal to confront reality. None of that here. Calling out a culture of lies, empowering female sexuality, facing the perils of addiction, and speaking of the resilience of the human mind, this is heady stuff for the rawest of parties.

“Billy Boy”, the title track of Modern Romance’s debut on LuLúxpo’s "Paradise Children Records" imprint is an atypical opener for a dance record. Its lackadaisical guitar work feels more like music made for a smokey dive bar in Tennessee or like it accidentally fell off the soundtrack of a lost Tarantino cut.

But it’s a stunner nevertheless, the ideal companion to a lazy, hazy sunday. LuLúxpo’s remix is its club-ready counterpart.
The label bosses dial down the rockabilly feel and add their iristinct slow and sensuous touch. Choice guitar licks are repurposed over a deep, rolling beat, while angelic oohs take a welcome front seat in the song’s second half.

Already supported by Massimiliano Pagliara, Sasha, Acid Pauli, Gene Farris, Joris Voorn, Jerry Bouthier, Elif, Landikhan, Speaking Minds, Upercent, Mira, Nandu, The Disco Boys, and many others …

4 Tracks Of Heavy Bleep N’ Breaks Dance Floor Destruction! Unknown Artist, dont snooze..

- Maybe that is something unique to Cologne, a good balance between the human and the machine. (...) This was an idea to find people particulary from Cologne, I think that there is a scene here. Just parachuting me in and seeing what will happen, you know. It's all about finding people who think alike.' Kurt Wagner (Lambchop)

In 2016 Week-End Festival invited Lambchop's Kurt Wagner to perform songs from his album FLOTUS in new version with musicians from Cologne. Here are two songs he did with Gregor Schwellenbach. Recorded live at Stadthalle Köln-Mülheim

'Journey at the End of the Brain is the second release by Gianluca Salvadori, aka Pushlock, after his debut album on cassette, Healing Process. Gianluca is based in Treviso and is a real drum 'n' bass, dubstep and UK sonorities addict since always. His new album comes as a reinterpretation of these sounds, with a fresh approach to sound design and the ambition to redefine those genres through an introspective vision. This LP is a promenade across Pushlock’s brain synapses, showing his multi-genre sonic architecture across echoes of UK oriented electronic music.

Journey at The End of The Brain opens the A side with an uplifting dose of breaks; the tech junglish assault of Ghosting gets scanned by cutting drumz and large hall reverberated reese bass, perfectly fitting the soundtrack of the dirtiest dream of the perfect night out in the club. Chaotic Neutral, a wild tune reminiscent of early Source Direct, acts as the amen track of the LP which burns bright before slowing down into the mental trip-hop excursion of Purple Leaf. The A side ends with Skyline, a virtual soundscape designed with broken stabs and hypnotic atmospheres.

Hexacomb, a 160 bpm half beat driving force opening the B side represents a unique blend of syntethic textures with a dirty beat giving only a minute of breath with the entrance of those celestial strings and classic piano phrases. Urania and Cannonball cover the 140-150 BPM zone of the LP, showing the mutant dubstep infused side of Pushlock characterized by 3/4 progressions, leftfield inspired atmospheres and distorted basslines. Common Ground acts as the perfect outro, leading the listener through a cathartic path to the end of the brain.'

What started as an underground techno label in the early 90's, Juice Records typified the head in the clouds ambition of the techno generation by both sound and action. Anything was possible and similar minds would be reached through the vinyl medium. By the mid 90's, Juice Records established itself as a southern beacon to the techno and house music movement.

… but many people would have little knowledge of where the label sits in todays music sphere. Juice Records, wether by choice or default have remained free from the uber industry of dance music but continue to represent with our Adelaide based music activities.

What started as casual discussions about Antony's studio activities with label owner, Donato, soon progressed to talk of an album. A couple of years and many iterations would follow till the vision was clear. Juice 020 highlights the musical existence that Antony commits too. It goes beyond the drum machine and synthesiser sounds the label would be known for and embraces a wider spectrum with use of a Yamaha baby grand, Fender Rhodes, Washburn bass and Yamaha Electone E-75.

With a definitive genre hard to pin on the album, Juice 020 remains very much a traditional Juice Record. It is a clear example of what Adelaide happenings have been missed by the global industry while it plays with a techno formula that goes beyond our underground imaginings.

A free and unconstrained expression – permanent and cutting-edge creativity - complex and amazing personality, Mr Oizo is always where you don't expect him. On the popular peaks and in the depths of the avant-garde, he counts his fans as well as his sceptics with its sounds and images of surprise, destabilizing and disturbing.

In his universe, neutrality does not exist. The bridges, and bridges between sound, image and writing are perpetually destroyed to be reinvented.

East Coast minimal wave institution Xeno & Oaklander’s seventh full-length further distills their iconic noir synth pop into a streamlined suite of gleaming, graceful retrofuturism. Inspired by ideas of synesthesia, scent, star worship, and obsolescent technologies, the duo of Liz Wendelbo and Sean McBride began conceiving the blueprint of Vi/deo while sequestered at their Southern Connecticut home studio during the pandemic. The context of isolation, streaming, and remote dreaming seeped into their chemistry, manifesting as both homage to and meditation on a certain cinematic strain of technicolor fantasy: the screen as stage, distance disguised as intimacy, where tragedy and glamor crossfade into one.



Opening with the precision synthetic melancholy of “Infinite Sadness,” the album marks a peak fluidity between the pair’s fusion of analog electronics and poetic melody, both refined and oblique, classic but contemporary. Wendelbo modeled her singing on “a young boy in a choir,” alternately holding notes and whispering them, with the lyrics clear, the voice elevated. McBride’s synthesizers serve as the perfect counterpart, tiered and polished, threading fluorescent architectures of a lost audio-visual age. Theirs is a... more

Presenting 'Envelope'. Album written, produced & mixed by Milan W. and pressed on 180g vinyl, by Ekster. Coming out on the 6th of June 2018, with foil-stamped cover-drawing by Gerard Herman. Mastered & cut by Helmut Erler at Dubplates & Mastering.
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Milan W (AKA Milan Warmoeskerken) is an Antwerp-based musician. In 2015 he released the Slo Mo cassette, on local label JJ Funhouse. The Intact LP a year later. Compositions constructed from gentle, yet persistent, rhythms. Intricately textured downtempo echoes. Brain-dancing, rather than four-to-the-floor raving. 2017`s split with Ekolalis, for The Hague`s BAKK, made clear the direction Milan`s headed in. His contribution being a seventeen minute float. The kick largely removed. The textures cut-up, expanded and magnified. Envelope, for Ekster, builds on this work.

The harlequin turns the handle. The contraption sucks in air, and breathes. Blows out tone poems. Wordless ballads that soundtrack enchanted scenarios. Issues forth magic. A sorcerer`s apprentice casting its spell. Animating the inanimate. To everything a life. Sets the frozen fluttering. Pirouetting in red shoes. Illuminates what was dark. Astma sings a Gamelan lullaby. Summons comforting angels to a post-Industrial landscape. Glaasjes has Jazz ghosts inhabit an empty bar room. Spirits stealing excuse-me`s under its deserted spot. In Limbo amplifies their whispers. Lead soldiers court jewellery-box ballerinas behind shuttered shop fronts. On Heraldic Snippets, a tin infantry marches. Ten thousand men up to the top, and back down again. Keys make-believing that they are massed brass and fife.

The bellows pump, and the pipes all the while wheezing. An automaton philharmonic at the bidding of a steam-punk master. Analogue and digital. Clockwork and glitch. Malady finds sounds isolated, extrapolated, mutated. Orchestral`s organ-grinder moves with urgency, and alchemy. Spinning straw into gold. Snare rolls become bubbling mercury. Metallic, yet fluid. Racing at the speed of flight and escape. Slope is the music of water chasing through crystal caves. Slow Runner, a funeral crawl. Shoved into motion by a drama of strings remembered.
Like the charismatic Rat-Catcher of Hamelin, the harlequin turns the handle, and we bang the cup.

Phuture Assassins returns to the old skool scene, and rarely has any new old skool EP sounded more perfectly on time. This is like a follow up to the classic Roots’n’Future EP as if the years in between had never happened. A perfect blend of the original, authentic, old skool sound, with its signature dub elements, this EP lays the groundwork for progressing into the future while keeping the sound rooted in authenticity. Each track chooses its own path, but all feel both brand new and like they have always existed. Simply put, this is one of the best new EPs from an old skool head since the resurgence began….

The third release on Elma RIvaga is signed by Riccardo. This record drives you into an archetypal musical word rich in shades between shadow and light, enjoy it!

Black Truffle is pleased to announce the latest offering from underground legend Richard Youngs. Hyperactive since the late 1980s, Youngs is widely celebrated for his remarkably extensive and varied body of recordings. His works range freely over a vast terrain, wandering from tender acoustic balladry to raging psychedelic noise and orchestral D-beat, always imbued with his distinctive, often mournful, melodic sensibility and irrepressible sense of joyous experimentation.

Comprised of two side-long pieces, CXXI carried on the experiments with chance operations used to generate material on many of Youngs’ recent releases. On ‘Tokyo Photograph’, a slowly changing, randomly generated sequence of 121 minor chords played by sine waves and accented with a brushed snare hit on every change provides the harmonic foundation for Youngs’ fragile yet impassioned vocal performance, shards of field recordings and electronics and Sophie Cooper’s long, tape-echoed trombone notes. While the melancholic drift of the chords calls up prime Robert Wyatt sides like Old Rottenhat or Dondestan, only the most vestigial sense of song remains here, as Youngs arranges his minimal ingredients over a spacious fifteen-minute expanse that often drops to nothing more than the rich hum of sine waves.

‘The Unlearning’ carries on directly from the first side, presenting another, more harmonically varied, sequence of randomly generated chords played by sine waves, distressed with tape echo flourishes and sparsely sprinkled with electronic touches. Like some of Youngs’ most single-minded instrumental works in recent years, such as his recordings of foot-played guitar or his shakuhachi pieces, ‘The Unlearning’ is deeply meditative but entirely remote from ambient or minimalist cliches.

Named after the number of chord changes on the opening piece and (Chicago-style) the number of records Youngs has released, CXXI arrives in a striking monochrome sleeve featuring play-along chord charts for both pieces. Both rigorously conceptual and endearingly off-the-cuff, CXXI is classic Richard Youngs.

Constructive Music is proud to present some radical reinterpretations of four tracks from Takuma Watanabe's debut album 'Last Afternoon'.

'Clouds Fall x Tactile'. Like taking a widescreen trip through Takuma's perfectly constructed digital worlds. Loops of conversations, sheared sounds and bursts of low-end frequencies fill the air. All underpinned by those unmistakable strings.

'Text x Bruges'. Hyper chemistry of rhythmic urgency and Joan La Barbara's vocals. Cut up and used as percussive ammunition.

Originals by Takuma Watanabe. Deconstructed by Delay. Artwork by Joe Gilmore. Mastered by Joe Talia.