Beats Vinyl New Releases - News

Kamixlo has experienced a lot of loss in the last two-and-a-half years. His long-awaited debut LP, Cicatriz, is named after the Spanish word for “scar”, taking its intense and energetic tone from the tough times in the Brixton-based producer’s life. An extremely personal album that follows 11 songs with titles like “Sick”, “Poison” and “Destruction”, it pitches soft and hard sonics against each other to create an urgent and exciting ten-sion as the track listing hurtles through its own emotional rollercoaster. It runs from the lurching drone and monstrously distorted vocal samples of opener “The Coldest Hello (Live From The Russian Spiral)” to the bright and melodic kosmiche-reggaeton closer of “Azucar” (‘sugar’), produced with Swedish cloud rap producer Woesum.

Only just past his mid-20s, Kamixlo has been making a name for himself with his dembow and bass-influenced dance deconstructions, releasing three EPs since 2015, as well as running the recently defunct Bala Club party and label, named after Japanese pro wrestling group Bullet Club. The night was an inclusive operation that established its own unique style of cross-genre post club music for the margins, while allowing Ka-mixlo the space to develop his sound—one that was imbued with its own pop immediacy, as well as smatterings of emo, electro and hardcore. British-Chilean Kamixlo’s Cicatriz is rife with surprising references. These include the thumping industrial of “The Burning Hammer Bop”—taking its title from one of the most dangerous professional wrestling moves ever invented—and the growling sub bass of “DKD Lethal”—named after DJ Lethal of famous nu metal band Limp Bizkit. Meanwhile, long-time collaborator, producer and Endless party founder Felix Lee appears on the scrambled rhythm and cut-up sampling of “Demonic Y”. As the saying goes, there’s no pleasure without pain, no resurrection without destruction, and Cicatriz is all these things at once.

The album is mastered by Beau Thomas, featuring artwork by Daniel Swan.

The project began as an experiment. Haley switched digital audio workstations, rebuilt his palette of sounds, and tasked himself with simply trying it out. The exercise freed him of expectations and permitted a process that echoed the tones of more immediate external environments. A gravity had seeped in; resulting material shifts between bleakness and sublime suspense, awe at the expanse of existing, in looking back and letting go. “It’s a sort of sad smile and a wave goodbye but at the same time hello, a 'welcome to your life’ moment,” Haley says. Take the storm pattern sequence from “Gaussian” to “Ultrafiche of You”: a queasy, contemplative vignette rests on a single soft-synth cloud before the latter’s percussion ripples across the sky. With trademark stutters and swells, the composition conjures the sensation of searching in the afterglow. “It’s a love song, and I don’t write many of those.”

This EP features 3 unreleased early takes from Martin Rev's Les Nymphes -album from 2008. Tracks are early 2006 stripped down versions.

With her new release, 'Zandoli', Belgian-Caribbean artist
Charlotte Adigéry proves herself to be a consummate
storyteller. Sometimes patently silly, sometimes deeply
introspective, Adigéry's ever-wandering mind spins tales
that are absurd and poignant and ridiculously fun. Having
been taught the ropes by her Martinique-born mother -
namely rhythm's relationship to musicality and the
importance of a sense of humour - Adigéry is a persuasive
young artist who can sing about lizards one moment and
latex the next.
A descendent of a Nigerian Yoruba tribe that worked their
way out of slavery on the faraway island of Martinique,
Adigéry likes to draw inspiration from her Caribbean
ancestors' musical traditions. Opening track 'Paténipat'
features a chanted chorus of 'zandoli pa té ni pat' - a
Creole mnemonic that means 'the gecko didn't have any
legs' - which perfectly enunciates the rhythms of the GWO
KA dances that would have swayed the islanders of
Martinique a century ago. A zandoli, by the way, is a lizard
normally found climbing the walls of Caribbean homes.
While never addressing love directly, 'Zandoli' is a product
of pure love and friendship. In the studio Adigéry is joined
by collaborator Bolis Pupul, a descendant of the first and
only wave of Chinese immigration to Martinique. After
matching on Tinder, the pair began to explore their shared
histories, resulting in heart-to-heart confessions that seep
through the songs of Zandoli. 'Since working on our first
EP, Bolis and I have become best friends,' Adigéry says.
'And this record is the product of our love.'

Time for something a little different from Cosmic Pint Glass' secret weapon Dom IV. Nothing Happens is a strangley poignant DIY/pop song, with two versions of the title track. Its the first in a series of 7 from CPG. Ltd to 200 with painted sleeves by Liam Buckley.

Cardinal Fuzz and Eiderdown Records are pleased to bring forth Prana Crafter and 'MindStreamBlessing' An electric mantra from the deep heart of the Pacific Northwest woods, "MindStreamBlessing" beckons you to relax and crack open your mind for a little while. Prana Crafter is Will Sol, practitioner of fine guitar spell-casting and audio fortune telling. A heady brew of guitar, drums, and organ that traces its majestic lineage from both the wayward strains of a cosmic Americana blues and the rustling sunshine daydreams of a future primitive past. The tunes contained herein drift and sway through the windmills of your mind, leaving the sweet aftertaste of pine and ocean mist. Accept this MindStreamBlessing as a balm for these troubled times.

New Age music seems to have a resurrectional momentum right now. On the one hand, there’s the plague age and its shady esotericism - crystals, bowls, faith over facts; the healing force of music, soothing inner demons as well as external bacteria. Like a matching piece of puzzle, on the other hand we have this neoliberal tradition-turned-malpractice of selfcare, mindfulness and neurolinguistic programming. And, third, a direct line to draw from the new age to the ongoing talk about social media dieting and hyping a wooky woodwork romanticism. A hand-made escapism full of reverb-laden wind chimes in the dystopia of our actual reality. Dystopia...there always was a branch of ambient music that didn’t grew into that realm of mystic realism, the one which relied more on the substances and narrative means of science fiction to exaggerate and focus in on real time life.

Swiss duo LEVELS work more in that last vein. Their chilly sound aesthetic is stylized enough to work as the soundtrack for a lower-level alternative reality. Fitting musics to drive down an emptied, endless Autobahn. Futurist small towns: clean, friendly, undistinguished hospitality. A creepy discretion. An interieur with much too much zen. And then, there’s this delicate disruption, as in „Central Activation“. It sucks you in. Tracks like that one or „Auto-Generated“ are numbing extractions of an all-encompassing entity. Heavily processed scraps of voice add up to this feeling of a totally surreal surround.

In come the drums: facets of small patterns which approach and depart from another, forming vivid, wobbling sculptures - listen to „Searching For Alesta“ or „Detectors“ to get a first grasp of that. Level’s evocative sound design lives off a rich use of the lower and medium sonic spectrum while making use of a relatively small pallette of sounds. In contrast to their first, self-titled release on Umor Rex, they cut the rougher edges in favor of a smoother production, which is a total win in terms of developing their own, autonomous sound world. Cineastic at times, the music always stays sober and focused, but unfolds a stunning complexity on closer listen. A complexity able to tell you a story with just enough gaps for your own, uncanny reality of 2020 to fall in.

Dauw presents the new full-length studio album "Companion" by Jogging House. In 2019 "When" was released and figured as Jogging House’s first release through Dauw. It was composed with a very limited setup and expressed the typical Jogging House sound in which warm soundscapes are mingled with soft and playful melodies. For Companion, Potschubay explored new paths by subtracting almost every rhythmic structure to a bare minimum resulting in a more minimalistic and abstract sound design reflecting his moods after a year filled with loss and pain. It's a thank you to the beings that helped him through - an album for the ones who stand by us.

“My main goal is always to express my emotions as honest as I can. But when I start a new track, I often don’t have a particular plan to achieve that goal. So I try to find sounds that capture what I’m feeling at this very moment and then follow them. I add what feels right and throw out what feels wrong until I have a skeleton that I am confident could become a whole track.”

Boris Potschubay is a German musician based in Frankfurt am Main. Besides his own music, Potschubay curates his own label, Seil Records which forms a home for Hainbach, KMRU among others. Jogging House debuted in 2011 and brought us more than a dozen releases in the meantime. Listening to all the records chronologically one after the other, demonstrates us how Potschubay is experimenting a wide range of sound sources and creates a variety of atmospheres but stays true to its own individuality.

The Frankfurt-based Jogging House is a relatively new name in the scene of minimal electronic music. However, within a short period of only 2 years he was able to attrack substantial attention from the (modular) synth community with numerous video’s in which he portrayed his music with a central focus on the instruments being used. The culmination of these endeavours were presented in the form of several well-received releases on his own Seil Records imprint.

His new album 'When' is an album about time and how not to be bothered by it. Characteristic for Jogging House is his interest in music that seems to have fallen out of time. That feels both old and new. That evokes memories while remaining uncharted. This ambivalence is exactly what the artist wanted to capture on When.

“The only way I know how, is to not overthink things, but trying to be as free as possible and doing what feels right. Thus, the eight tracks that make up When were recorded in single takes (straight to cassette), opening room for improvisation and detours.”

The result is - compared to his previous releases - in many ways more raw and stubborn, full of unsynced fragments of fading melodies and rhythms that are ignoring time signatures. (Hopefully) creating an experience that is both confident and fragile, relaxed and untamed.

Linus Hillborg’s solo debut Magelungsverket lures listeners through despaired soundscapes of justly tuned electroacoustic orchestral arrangements seeped in rich harmonic synthesis.

Magelungsverket is a rendering of materials from Hillborg’s own computer game hacking project, Orphan Works, where an obsolete game engine was modified to create an interactive installation in which participants drive through the purple midnight streets of a decrepit and abandoned Stockholm. The game's generative soundtrack interacts with the player’s haphazard navigation of a ceaseless digital void of factories, housing projects, run down bars, ditches and lakes. Displaced, uncanny narratives and depictions of both real and semi-fictional locations in Stockholm that could have existed - but do not - procures distinct sequences of sound constructed with the Buchla 200 system, programmed synthesis, bowed cymbals, metal clarinet and tape machines.

The rendered pieces on Magelungsverket have been adapted from Orphan Works’ interactive and generative material into separate, fixed compositions, bound by duration, each one named after a location in this fictional, virtual Stockholm. For instance, Vårbergsobservatoriet (The Vårberg Observatory), draws its name from an artificial mountain that exists in the outskirts of Stockholm, amidst the sprawl of residential areas far beyond the sparkling city center. It was built from garbage scraps left behind after the underground metro system was constructed in the 1970s. In this fictional version, a public observatory was wishfully imagined to have been built on top of it. However fictitious Hillborg has imagined these locations, it is a bittersweet reflection and fragmented mental image of a Stockholm that never existed. Magelungsverket will be released on the 4th of December in a limited run of 200 black vinyls and across digital platforms.

Linus Hillborg (b. 1989, Stockholm) is a composer, musician and sound artist based in Stockholm, operating in numerous fields, ranging from experimental musics and audio-visual installations to post-punk and noise formations.

arbitrary presents the 2020 remaster & vinyl reissue of PM016 by Danish musician Mads Emil Nielsen, re-mastered and cut by Kassian Troyer, with cover artwork by visual artist Dane Patterson.

Originally released as limited edition C30 tape on Plant Migration Records in 2014, the four pieces on Nielsen’s first solo release are based on short orchestral and percussive samples manipulated by various synthesizer modules and effects processors. Variations are created by emphasizing different frequencies, harmonics, sections of short loops and the various surprises that result from the idiosyncrasies of each machine.

This vinyl reissue is part of the Black Box series of releases with music & audio originally made for theatre pieces, performances, installations, radio soundtracks, compilations and remix collaborations. The series showcases a more melodic side of Mads Emil Nielsen’s work, who, during recent years, has been focused on more abstract electronic/acoustic material – such as his collaboration with Andrea Neumann and Framework series (graphic scores & recordings).

Written & produced by Mads Emil Nielsen, Copenhagen, 2013. Originally released as limited edition C30 tape on Plant Migration Records (US), 2014.

For his first EP ever, Master Flashhh carved 5 beautiful tracks of analogue funkiness, drawing inspiration from drifting in Georgia, solitary walks alongside the ocean in Finist?re Brittany or recording his neighbors banging behind the wall.

One of dance music’s most enigmatic figures returns home to Anjunabeats. GRAMMY-nominated producer Mat Zo is back with a brand new artist album set for release in October: ‘Illusion Of Depth’. At the age of 30, this is the London-born, L.A.-based producer’s third artist LP. He broke onto the scene in 2008 and has been causing an uproar ever since. In the early naughties, he penned Anjunabeats classics like ‘The Lost’ and ‘Synapse Dynamics’ which were far ahead of their time. They were followed by the likes of ‘Superman’, ‘The Sky’ and ‘Rebound’ (with Arty). He pushed the Anjunabeats sound to the mainstage, racking up spins from Pete Tong, Axwell and Armin van Buuren. It was his GRAMMY-nominated debut album ‘Damage Control’ that fully showcased Mat’s avant-garde approach in 2013. Featuring break-out hit ‘Easy’ with close friend Porter Robinson, the track took Mat mainstream: a Radio 1 A-List addition, Sirius XM BPM listing, a #1 Billboard Heatseeking record, an Essential Mix of the year nomination and, ultimately, a GRAMMY nod for best dance and electronic recording. Since then, Mat has grown his own stable. Self-releasing his second LP in 2016, ‘Self Assemble’, via Mad Zoo, Mat’s imprint nurtured a new generation of eclectic, genre-agnostic creators.

A living room somewhere in southern Germany. Embroidery graces the walls, a veneer side table with little chrome feet stands in front of a beige velour sofa, a minibar awaits. Pride of place goes to the electric organ which majestically occupies the centre of the room, flanked by two oversized loudspeakers. Welcome to the world of OTTO. The two-man band are set to release their long-awaited debut album in 2019 on Bureau B. The eight tracks contain familiar OTTO ingredients, from organ sounds and rhythm presets to disco strings and the monophonic waves of a 1970s synthesizer. Arpeggio andHohner notes add extra sharpness to the proceedings. Classics from their live repertoire sit alongside brand new numbers, invariably strange synthesizer compositions.

Scuffed Recordings line up their second vinyl sampler, featuring four heavy-hitting club tracks spanning the last year of the label’s output. The release sees tracks from Dubrunner, Heritage, Stones Taro, and Joe Craven pressed to vinyl for the first time, in a limited run of white labels.

Kicking off the release is Dubrunner’s ‘Zoya’s Trip’, originally released in December 2019 on the Scuffed Presents 003 release. Zoya’s Trip has become one of the most popular tracks in the Scuffed catalogue, spending six months in Beatport’s Leftfield House & Techno top 10, and seeing DJ support from the likes of Anja Schneider, Moxie, and Oneman.

Up next is ‘The Revelation’ from Brighton-based duo Heritage, taken from their EP of the same name. With its bass-heavy, breaks-driven beat, The Revelation picked up plays on BBC Radio 1, 1Xtra, Boiler Room, and saw coverage in Mixmag and DJ Mag.

On the B-side Scuffed veteran Stones Taro steps up with the weighty ‘To Rave’. As one of the most long-standing members of the label’s roster, Kyoto-based Stones Taro has become a firm fan favourite with his idiosyncratic take on UK rave music.

Closing out the release is Joe Craven’s ‘Staring At Your Feet Or Mine’, a percussive UK techno stepper originally taken from the Bristol-based producer’s debut release.

* Debut vinyl record from Chino Amobi
* Soundtrack to Ligia Lewis' perfomance 'minor matter'
* Part of the VF X CTM Festival vinyl series
* Artwork by Martha Glenn
NON Worldwide co-founder Chino Amobi makes his vinyl debut with the soundtrack to choreographer Ligia Lewis' minor matter, a performance piece that deftly articulates an argument for minoritarian politics.
Most of the material is newly commissioned but one of the tracks, 'Locus of Control', is lifted from Amobi's provocative Airport Music For Queer Black and Brown Folk album, in which he follows Brian Eno in inducing the atmosphere of an airport terminal. But through the eyes of a black man and with 2016 realism, it's a different story; where Eno invites lullaby, Chino unshackles nightmare.
Founded by Chino Amobi, Nkisi, and Angel-Ho, the NON collective, whose multifaceted, holistic campaign of critique has quickly achieved widespread recognition over its two years of existence, groups together artists and producers from Africa and the international African diaspora into an independent digital nation state.
It de- and re-territorialises club music as vessels through which to confront head-on colonial heritages and the ensuing "visible and invisible structures that create binaries in society and... distribute power.'. In addition to the music it distributes, NON spreads its directed political mission via a battalion of art forms - graphic design, video, visuals, fashion - that facilitate an immediate, unambiguous process of identification and help to create a alternative public space that is as specific as it is large-scale.
As a group of people sharing a common struggle with the daily aftermath of colonialism and the pervasive reach of marginalisation, the project of NON is a call to arms, and as such, its propaganda is urgent, aggressive, even militaristic in concept. Yet for its members, this attitude is only a part of what is ultimately a process of restoration and reinvigoration.

New full length album by France’s most singular contemporary composer. Reflecting on ancient culture’s use and reverance for emblematic monuments which most often represent myths and stories, the album’s narrative has been infused with such symbolic and depicts an envisioned mythology, unfolding through it’s 10 aural pieces. Franck Vigroux‘s music is unique and comprised of tectonic tension, pulsating rhythms and abrasive analog textures like few can produce. Applying his own calculated personal signature in his sonic explorations his distinctiveness comes not only by his unique approach to sound but also by his incorporation of new media practices and performing arts into his A/V work.
Mastering by Denis Blackham.

Double Vinyl Edition of 500 copies in matt laminated Gatefold Sleeve.
10 Tracks. Running Time 55:10.

The second record in the three-part Grumptronix series contains 2 highly-sought-after electro tracks, 'Black Orchid' & 'Pocket Rocket', produced in 1996 as the only release on the Erotic City sub-label, Silicon Audio. The precision-engineered machine funk rhythms have since become one of the 'holy-grail' electro records that have evaded collectors without the financial-clout to bow to sharks. Both reissue tracks are drum machine-driven with their sights set on the horizon of electro and sound design and still sound as relevant today as they were breath-taking in the mid-'90s. The B-side offers two previously unreleased and unheard tracks produced around the same time - lost in time until recently re-discovered on aging DATs. 'Subfactor' moves and sways behind galactic pads and electronic rhythms while 'Dub Sea' transports the listener to the depths of an icy ocean, filled with low frequencies, that is most definitely located outside of our solar system. All tracks have been mastered from the original DATs with care and love by the ears and hands of Simon @ The Exchange.

Native Cruise’s new release is just in time for the summer, bringing a relaxed take on house that laps at your ears like a warm sea. We’re happy to have got some of his time - he’s been releasing on No Bad Tapes, Fruit Merchant and YAM Records. He pitches the release as “a mixture between house, tribal and balearic not sure what else”,so it’ll be hard to file neatly, but we are glad he’s made this lovely EP.

Beautifully Designed 1LP, 180g Vinyl Press kit: Following his Extended Play EP on Other People last year, Jream House is the turbulent and spiritual debut LP of Mark Hurst aka A Pleasure. Blending mathematical composition with an unrestrained studio experimentalism, the sound of A Pleasure charts a space where formative influences confront the most immediate performative impulse. Using a process of numerical transposition, the names of personally significant bands and composers are converted into drum patterns. He then lets loose, improvising around these structures with a variety of traditional and unorthodox instruments: bass and guitar, bowed cymbals, drum machines juggled like turntables, blowtorch on aluminium, to name but a few. With his influences as start-points, he builds rhythmic structures literally in their namesake, blasting their hulls with walls of noise, monolithic basslines and any other jam-yielded shrapnel. Despite the chaos and complexity of the process, the results sound neither clinical, nor garbled. The tracks always find their way to an emotive melody or strong groove. Lush guitar strums and yearning keys ride the high-speed beat of Slow Channel", which seems to soar through cloud-cover as one snaking mass. The Order of Things' folds a cosmic guitar-part into a backdrop of heavily side-chained noise. Arthur Russell' features a neck-snapping rim-shot and crushed snare that splash up the bits of an elegiac vocal part. Through violent and idyllic atmospheres, Jream House jettisons its inspirations like landing shuttles, always in search of new ground. These are songs, not just experiments.

Nightmarish R'n'B, Bassrock and arcade inspired action by Abdul. Very low business risk. Brought to you by Funkycan & Max Gee

This is the second Super Hexagon release. It's got three tracks from Alma at a total running time of 15 minutes and 32 seconds.

With roots in the early developments of modular synthesis and free jazz and revered amongst the most discerning collectors of international jazz, electronic music and American avant-garde, the experimental drummer known as Bruce Ditmas occupies a firm branch on contemporary experimental music's family tree. As the one time romantic partner (and artistic collaborator) of sound poet Joan La Barbara (later to be Miss Morton Subotnik) and the stand out session drummer for both Robert Mason's mutant synth Stardrive project and Gil Evan's legendary Jimi Hendrix tribute band, Ditmas is best savoured as the first recorded solo artist to utilise Robert Moog's lesser-known Moog Drum controller - an instrument which over the course of two 1977 independent LPs (Aeray Dust and Yellow) would become synonymous with his blooming reputation.
Raised in Miami, nurtured in New York City and willingly exploited internationally, Bruce's public life as a child prodigy-cum-world jazz crusader (drawing similarities with the likes of France's Jacques Thollot) has seen him spread his select discography over many imprints, including Joan La Barbara's own Wizard Label, Enja and ECM - socialising with sound designers like Suzanne Ciani and collaborating on projects penned by Annette Peacock, Paul Bley and his long running collaborator Enrico Rava. Spending the last thirty years travelling between America and Italy as a full-time jazz musician whilst working with inter-communal music initiatives, film directors and theatre groups, Bruce has retained the same maverick passion and macabre creative influences channeling brutalism, futurism, science fiction and psychological horror through his percussive mantra and avant-garde approach to instrument manipulation and recontextualisation.
These selected titles are extracted from various recordings made over the last three decades comprising field recording techniques and percussive manipulation resulting in gritty tonal soundscapes and angular sonic sculptures while drawing theoretical comparisons with European proto-industrial units like Germany's Faust, Swiss electronic jazz pioneer Bruno Spoerri, Czech sonic illustrator Milan Grygar and sprawling generation of Parisian musique concrète informed anti-melodic luminaries. Reflecting a lifelong career in active melodic drum exploration and vivid existential sound design, this record provides an alternative, darker, meditative, glimpse into the work of a proactive composer at his non-conformist best in the uninhibited confides of his own home analog studio.

Christer Bothén's new LP on iDEAL is a beautiful creation moving comfortably between improv, sound art and drone. Christer Bothén is a main character in the Swedish improv, jazz and world music scene. He studied music in Mali and Morocco in the 70s and collaborated w Don Cherry. Bothén has been active in bands like Bitter Funeral Beer Band, FIRE! Orchestra, Mats Gustafson NU Ensemble, Spjärnsvallet and Bolon Bata.

John Cohen aka Dead Fader first arrived on the label in 2016, with It Works 1 - a brace of warping, high energy electronic music compositions that while largely unclassifiable in genre, maintain a gloriously vibrant, emotive sensibility that owes much to early IDM excursions, and the more abstract tenets of the Krautrock genre. That said - the artist cites anything from Kanye West to Bach and back again as informing the decidedly experimental and potentially confounding work - and his latest offering for the Milan based label continues to riff on this open ended mesh of influence to great effect. The new LP, Jenny 153, runs out across nine tracks and operates at the fertile juncture between Classical and Club Music compositional structures, and examines the crossover points between the two disciplines. According to the artist, the work deals with themes of acceptance and an 'opening up' emotionally - and a palpable sense of catharsis runs deep through the recordings. Colourful and undeniably cohesive, in spite of it's rhythmic complexity - the recordings present a vital snapshot of the potential space that exists on the periphery of the dance music genre.

Mutant jungle forms, hazy glitch experiments and trance inducing downtempo collide with sharp percussion and dense low end on this latest Alter 12'. Helm's recent 'World In Action' EP for The Trilogy Tapes is reworked by a whole host of favourites including Laurel Halo and Parris who offer up two distinctly different takes on 'Blue Scene'. No Symbols boss Beneath turns his hand to title track 'World in Action' with that typically murky, deconstructed club aesthetic whilst Parisian mainstay Low Jack gets deep on the A2, his five and a half minute version of 'Candy' sounding like a cross between Nuno Canavarro and Whitehouse. Delivering what might well be the records most subdued moment, Brussels' Sky H1 slows 'After Dark' way way down with some barely there auto-tuned vocals helping to bring things into the fold.'

TERRENG - a constitution of an open-ended landscape of contrasts defining space both in time and depth. a set of structuring elements forming by its positionally interaction a common platform created through its dimensional properties.

The drums and electronics on TERRENG trade off each other at times creating a sense of improvised space, but also comes together in parts to form a narrative structure of almost concrete sensibilities. Where the instrumental identities gradually bleed into each other to form a flowing texture of sonically defined terrain.

The multi-layered structure of the two tracks presented here draws upon a well of material, sources and references. Pandi and Wesseltoft build up a detailed and idiosyncratic work by the use of their constructive material. In parts quiet and open. In other parts chocked with information and intensity. Beautiful and fractured. Chaotic and meditative. TERRENG is a highly dynamic blend of improvisation, and a narrowly constructed electro-acoustic narrative.

Balazs Pandi is a versatile drummer with an almost encyclopaedic level of experience ranging from improvised music and modern jazz, to metal, noise and experimental electronics. Here he at times performs the role of improvising drummer trading off the collaborator, and at other times creates an almost ritually constructed sense of rhythmic space perfectly embedded within the overall structure.

Jon Wesseltoft is a musician and composer with a long history of work within the often overlapping fields of improvisation, sound-art, noise and electro-acoustics. He has a longstanding interest in musical systems and its concepts of representation, and psycho-acoustics and the phenomenology of sound and its narrative power. He has explored this interest in various forms ranging from solo work to various collaborations and projects to larger ensemble work.

* The second chapter in Petit Singe's travel through Akash Ganga comes in the form of four remixes curated by members and friends of the Haunter Records extended family. They all applied their peculiar agencies and experience to the original recordings.
* Danse Noire boss and spiritual explorer Aisha Devi combined elements from all the tracks of the album with her own production to assemble Necromedia', a powerful take on the sidereal source material. Haunter veteran Weightausend delivers a psycho-dub version of the frantic OXO', while Zuli (of VENT and UIQ fame) deconstructs the same track turning into a kind of post-human and post-colonial beat he labeled Astrogangsta'. The final track is an alteration of the album's finale 27.09.87' by Canadian experimenter Jesse Osborne-Lanthier, who let it mutate like a self-sufficent biodigital organism, opening it up for new experiences.

The now long running and still essential RZONE series hits release number 18 with four more busy and bristling cuts of club focussed weaponry. 01 has huge and coarse claps and skittish drums, frazzled synth lines and a rising sense of sci-fi tension throughout. It's a blizzard of sound that is unrelenting. 02 is much less full, and instead its menace comes from a dark, gurgling bassline and razor sharp hi hats. Stomping drums drive it along and at various points things pull back to a creepy, paranoid synth line. 03 is a mix of intergalactic sonar pulses, roaming and writhing synth lines and clattering drums and perc that push and pull you in many different directions at once. It's intense and mind melting before 04 takes a step back and layers up the sound of uncontrollable machines with pained synths. It's an unusual yet tender track that sounds like little else.

Staggering volley of hyper junglist killers from Sophia Loizou on a new EP of pressurized subs, hoover and percolated vocals taking us somewhere between Lee Gamble's classic Diversions, Metalheadz Blue Note Sessions and some forward Arca x EVOL collusion. TIPPED!!!

Sophia's first release since the much acclaimed Singulacra (Kathexis, 2016), Irregular Territories provides a definitive example of Loizou's sound as it firmly asserts her music in a rarified hauntological rave headspace that meticulously explores an exploded deconstructionist style that she's developed since her 2014 debut Chrysalis.

With one foot in late '90s halcyon daze, and another toeing the future, Sophia combines a lust for the ruffneck with a sharp mind for complex structural integrity and inventive aesthetic. Synching fragmented beats with human gasps, choral synths and richly ephemeral textures, she bridges temporalities and dimensions in a way that recalls an auditory DeepDream composite formed from millions of eyes-shut moments at Metalheadz sessions.

Album opener Loop of Perception quite literally takes off like a jet engine in the rave, while Memories of Angels conjures and sustains a lump-in-throat suspense through unresolved pads and hide 'n seek breakbeat edits, before it all comes together, gelled by wide, pressurized subs in Shadow Box.

The brief vignette of hoover and percolated vocal motifs in Frozen Dust opens up the B-side like some Arca and EVOL collusion, and The Interior Life of Another feels like a jungle inception of 4Hero's Parallel Universe, leaving the poignant Morphogenesis to sum up the metaphysical flux of her sound in febrile detail

Conceptually linked to its predecessor Silent Earth from 2016, Refugium delves deeper into the same vision of a peaceful and apocalyptic utopia. Taking an intimate and introspective point of view, the album explores the quiet and in-between moments of being. Using hypnotic patterns, organic pulses and complex layered drones, Refugium is ambient music that spins around its own set up atmosphere. It evokes a pendulum of emotion and thus creates an in-between moment all by itself, a refuge, a haven.

'strange Rabbits' Is A Bittersweet Kiss To Chill-out Room Jungle And Ambient Techno By Jimmy Donadio, Using An Early Alias, Stabudown Productions, To Mark His Return To Personalised, Esoteric Electronics After Years Of Raw Bangers Under The Prostitutes Guise.
Pushed To Write Some Melodic Tracks For The Crack Of It By Powell, Jimmy Drew From His Current Record Buying Habit For Early Jungle And Ambient Techno To Produce An Unusually Affected Batch Primed For The Kind Of Back Room/chillout Room Sessions Which Used To Be Common In Clubs, And
Have Essentially Morphed Into Afterparty/domestic Rave Soundtracks Nowadays. Reacquainting Himself With The The Shine-eyed Wonder And Sensuality Of Dance Music's Beta
Stream, 'strange Rabbits' Refracts Nyc Deep House And Neuropean Electronics Via The Prism Of Early Jungle And Jimmy's Fuzzy Memory. Its Ten Trax Reveal His Tender Underbelly Like Just The Right Amount Of Mandy, Resulting A Psychedelically Sensuous And Driving Album Characteristic Of The Sincerity And Allusive Impressionism That's Long Been Key To His Work, But Rarely So Thizzingly Effusive.
Hypnotic Highlights Such As 'wizard Upholster' And 'teenage Scream Dreamer' Recall Stakker's Early Techno Prototypes, While 'new Ogre' And The Cubist-electro Of 'warm Woods' Shimmy Like Richard H. Kirk In Nyc. Yoghurt Weaving Proto-goa Trance Shares Dancing Room With The Gnostic Bleeps Of
'wizard Upholstery', And The Slow Burn Swing Of 'totally Coral Reef' And 'koln Alone' Properly Nail A Hair-kissing, Head Massage-worthy Technohippy Vibe That's Been Conspicuous By Its Absence From Contemporary Floors - Especially For Anyone Old To Remember How It Used To Be. The Deeply Charming Results Amount To The Most Diverse, Techno-spirited And Pop-friendly Work In Stabudown's Singular Catalogue, Serving To Lend A Lush New Horizon To Jimmy Donadio's Previously Furrowed Rave Outlook, And In A Way Comparable With Everyone From Nwaq And Dj Sprinkles And Not Waving.

Nerike Primate's sixth release features A. Stantz of Peel MD and Nimam Spregleda of Helltown Acid Militia showcasing some raw, acidic electro on the A-side while Nonolith and Omnimatter take the sounds into melodic scifi territory on the flip. Limited to 100 copies!

“I had the honour of remixing all of the Bamboo tapes that J.Derwort ever recorded. Most of my mixes were approved by the master himself during the last days of his life in Oliva, Spain. For ‘Eleven’, I sampled from his last live performance at Jazzcafe Dizzy in Rotterdam on February 11th, 2018. He died on the day of the release of our latest Chi Factory album, ‘The Mantra Recordings’, on February 11th, 2019.
We will miss him, life will not be the same. Farewell soul brother!” Words by Hanyo van Oosterom.

Electro legend Gosub delivers an outstanding new album on Libertine... Not to be missed!

Hessle Audio welcome @laksauk to the label with three tracks of rowdy and forward-thinking dance music, following his last release on Timedance in September.

On the A-side, ‘Fire Kit’ sees the London-based producer and DJ approaching his sound from a different direction, with dancehall infused percussion offset by enveloping layers of sub-bass warmth at 95bpm. The B side jacks up the tempo with a raucous energy as the temperature drops to below freezing. Basslines rumble in ‘Belly Brocka’ and ‘T’s Tent’ like an approaching storm and snares lash through the mix like ice picks, with the broken rhythmic energy driving the dance forward in 2021 and beyond.

Running the club night and monthly NTS show ‘re:lax’ with re:ni, Laksa has been consistently pushing bass mutations since his early EPs on Beneath’s Mistry label. A Bristol bass bobbler at heart, his hybrid sound has found a home on many respected labels such as Timedance, Ilian Tape and Whities, cementing his place amongst the latest UK talent.

Into the Light is launching a parallel and limited series with contemporary material from both Greek and international artists. First stop is the album 'Postclub Prism' by the German producer Cass. offering ten gorgeous ambient pieces about light and romance.
.
Since 2012, Niklas Rehme-Schlüter aka Cass. has released albums of varying styles, from the rather organic and loop based ambient pieces on 'Loops & Farewell Sketches' and the 'Red Atlantic' EP on Throne of Blood in 2017, influenced by 80's pop sonics, to the more balearic and percussive recordings on 'The Sound of Glades' together with Wolf Müller in 2016. On his new record 'Postclub Prism' Cass. explores his affinity to calm and atmospheric ambient music at the threshold to the reverberant sound of club music.

The second outing in the CiM re-issue program is his debut Delsin EP dating from 1999. With 'Service Pack' Simon Walley subtly moved away from the dancefloor, creating a pack full with ear tickling and mind twisting electronica. Pure bliss.