Beats Vinyl New Releases - News

The latest in the synth-heavy sludgedown from Public System Recordings, invites a new cast of characters into the dungeon dance. The common theme throughout this sampler of titans of industrial the world over, seems to be wide, slowed down melancholy. Some tracks take a floor-friendly jump, while others demand the attentive consumption of a more serene setting. These two discs are packed with dynamic, chugging, and forward thinking jams that make you mesh all things PSR is passionate for.

Microdosing is a series of compilation 12”s selected by Julienne Dessagne aka Fantastic Twins, and designed in collaboration with French visual artist Geff Pellet. Microdosing is a collective experiment aimed at helping you fighting back your modern obsession with happiness. You may deserve a nice day but the day does not need a nice you, nothing should be forced, everything is permitted. Microdosing will provide you with sonic healing weapons on regular basis and at irregular dosage. Those doses will favour psychedelic social techniques against self help tyranny, creation over soma, provoking over numbing, our outer-selves over our inner-selves. Microdosing refuses the fatality of the pleasure principle. Life is a struggle, time to embrace it. —— "My battery is low and it’s getting dark” We at Microdosing will make Opportunity’s famous last words fully ours. Some would see these as an epitaph on a black screen, we embrace them as a reclaimed fragility. Are we grains of sand wandering in space, hoping for a goal? No. We are the cosmos, the cosmos is us, unafraid of the end, unafraid of the void. Before the rise of the infinite silence, Microdosing brings you new guiding lights, white sun or black hole being a simple permutation of the kinetic rainbow. Oceanic’s “Parallel Lines Of Stripes” is a meandering mantra, an synthesised Moebius ring, a mission to your heart, that furthest star in the sky. Gilb’R’s “Cosmogonie” simply reminds us of the profound relation between spatial systems and the holy act of birth (cosmo, world and gon, conceive). The universe is a body, your body is your universe. Lucas Croon’s “Threshold Stimulus” is the soundtrack of a never ending voyage, the man is on a trip to the core sanctum. Imagine Space as a reverberation room cladded with bakelite. Losing yourself in delay repeats sometimes is the shortest way. Neuzeitliche Bodenbeläge & Sam Irl’s “Faeden” is another hymn to the umbilical chords joining us to the outer world, a black monolith of kraut acid, a pagan dance as portal to a destination only you can choose. Microdosing will be back soon with more enablers, helping to turn your petty struggles into a search for a meaning of life. The Quest lives on.

LP includes download code. DFA Records are excited to announce the release of 'Home Economics', the new album from Prinzhorn Dance School.The starting point for the new record was the band's amazing first US shows - two of their own and a triumphant showing at DFA's 12th anniversary - in May 2013.
Inspired by their American adventure, Prinzhorn Dance School brought the recording process in from the cold of the red shed to the heart of their everyday lives.Played and recorded on the move between different flats in Brighton and Hove, then wheeled around town on a hard drive wrapped in a sleeping bag in a specially-adapted suitcase, 'Home Economics' gave them an escape route from 'that frustration you feel when you spend days trying to recapture the intimacy of a particular moment,' Tobin Prinz remembers. 'This time we could just use the original take, so sometimes these songs are almost like field recordings.'

The historical Power Electronic founders duo remixed by two of the infamous artists of this new industrial/noise scene. Parrish Smith, also know as Sige Bythos and Volition Immanent, already appeared on labels as Nation, Contort Yourself and Knekelhuis, made a smashing track, slow and heavy, distorted and electrically powered.Black Seed, already appeared on DTLS SND and Sign Bit Zero signed a syncopated track, with tribal influences and bouncing sounds that will turn your brain into a whirpool.
Procreation and Religion... let's think about that.

The next in ART’s classic Remaster series is another gem from the early Eevolute catalogue. Max404’s (Erwin van Moll) “Recycler” EP was originally released in 1992 during the heyday of European Techno meets Detroit influences.

The legendary Solid Bass DX100 preset sound dominates the opening track showing its Detroit influences from the off. Mamoulian brings the European EBM/synthwave sound to the fore whilst Hangover merges the Chicago/Detroit sounds in a funk bass led feast.

Fractal View was the big hit from the EP. A techno-breaks hybrid perfect for the raves of today and yesterday. The EP ends with the dark, heavy breakbeat Quiddity - a haunting track that ensures ths classic eclectic EP stays in the mind forever.

Never previously reissued in its full vinyl format and only previously available as an in-demand original with prices to match - the remaster meticulously brings the sound up to modern standards.

Giallo Disco is more than happy to welcome one of the absolute O.Gs of the 2nd wave of horror synth, the one and only Kansas City Warrior turned Mr Dr Hollywood himself… Umberto, who’s new EP ‘Outskirts Of Reno’ takes us deep into the seedy underbelly to tell the tale of a kidnapping. From the EBM dancefloor darkness of The Basement to the ascension-like arps of Repeat. Five brand new tracks from the master of mood destined to work it’s way into the record bags of discerning DJs across the globe… and into the nightmares of the weak… Limited to 200 Copies. Art by Eric A Lee.

Next on the DDQ series, Sébastien Michel, best known as UVB, presents his Elements of Joy alias where the French producer explores post punk, industrial and wave influences across 4 rugged tracks. First released as a cassette on his own Body Theory label and now remastered for vinyl on a limited edition of 300 copies.

Exzakt's first EP on Monotone since 2007 is a collection of various tracks that have not been on vinyl. This tracks were hand selected by fans out of 17 tunes to chose from. First we have Madrid Nights which has been only heard in Exzakt DJ sets and was a fan favorite that has often been requested for release but has not until now. This song is a deep look into Exzakt's progression in his sound. This track explores many emotions through ever changing soundscapes. A2 is an excellent remix of Larry McCormick's Escape track which originally released on Datapunk in 2004. 214 completely dismantles the parts to make a unique composition that turns into a journey and its perfectly fit for a proper vinyl release. The B starts with an Exzakt Classic that from the start screams to be heard on wax. Me & My 808 is a heavy, ripping tune that will service any dance floor. Last is an emotional piece that you can tell from the title, Love Hate. Again Exzakt goes deep on this one but still keeps the beat pumping like his tracks often do. This is another solid Exzakt Record that should be in any Electro Collectors record box.

The Global Skywatch family have been discovering evidence of geoengineering on a future we will be releasing audio recordings painstakingly designed to protect your mind and body from government control.

May this second offering bring you peace from the madness of the modern world.

“Jay Glass Dubs is back on Berceuse Heroique after his inaugural release and this time he is going straight for the jugular. Jay Glass took a small break from the 80's experimental pop of The Safest Dub and he invoked the spirits of German Kosmische Musik and the studio insanity of African Head Charge. Film Noir vibes are mixed with the greek ancient tragedies, leaving the Apollonian aesthetics of his last release and going for a darker, denser and completely Dionysian approach for this one. Medea meets Touch Of Evil. Harmonia and young Adrian Sherwood are getting loose on some pentatonic Greek Traditional music from Epirus. Jay did it again and we are very happy to release this one.”

This collection of ground-breaking instrumentals captures a moment of musical alchemy. Stylistic edges become blurred with by-turns into jazz, gospel, soul, funk and dance. A new genre – gospel jazz – was created in their wake. The son of a minister father and a missionary mother, Tankard grew up playing drums in his local church. Numerous offers of scholarships to music college came his way but his height and youthful speed determined the choice of a scholarship in basketball. Turning pro, he was drafted with NBA team Portland Trailblazers before a knee injury cut his career short and led to a period of homelessness: “I could not pay my rent so for a short time I was living in my car and sleeping on friend’s sofas.”

A church visit proved life-changing: “I heard of a revival service that was going on. I was nearly starving with no job or income so I went only for the free meal. Afterwards the preacher called me up and told me to sit down at the keyboard. I was hesitant but after all I did not have anything to lose. When my hands touched the keys I began to play like George Duke! No lessons - just instant awareness. That is where ‘gospel jazz’ was born. Since it was jazzy in nature, yet inspired in the church, I decided to call it ‘gospel jazz’.”

Tankard got a job at a local music store where he spent the next few years honing his craft before he began recording his own music. “I programmed all the instruments myself on a keyboard so I called it All Keyed Up.”
Curator Pol Valls found the record while digging and was struck by its genre-defying creativity: “the track which stood out the most for me was Eden Celebration which has the feel of early dance music. I also loved Melodic Heaven and the title track All Keyed Up. That track was really short though so we decided to make a remix of it.

If Eden Celebration, with its highly rhythmic cross-breed of jazz fusion and electro shows Tankard at his most creative, then All Keyed Up - a stellar exercise in funk-laced jazz fusion replete with Don Blackman-esque piano runs - demonstrates his prowess on the keys. On Melodic Heaven lo-fi synths and boogie-fied bass synths combine with his elegant and soulful piano. The remix of the title track expands the short-but-sweet piano-based vignette into a Balearic anthem replete with extra drums, synths and guitar.

Released in 1989, Tankard’s All Keyed Up album kick-started a hugely successful recording career. Nowadays he’s also known as a motivational speaker, author, trained pilot (famously flying to shows in his own planes) and as the star of his own reality TV show. This collection chronicles the magic that happened at the beginning of his career, its inspired melding of styles sounding as fresh today as when they were first put to tape in his home studio.

If emptiness is heaviness is Godliness, Birds of Prey’s third full-length LP is an immaculate conception from on high. The record luxuriates in the spaces between. What’s left out says as much as what made it in. Deep, droning, and dub wise, “Vanishing Point” cascades in elegance. Its reference points call towards the sample manipulation of American tape music and the downward gaze of amniotic British bass music. It charts its own path nonetheless, building its own space for drifting off to. Unlike many peers operating in similar realms, Birds of Prey are a proper band, a foursome: Grant Aaron, Clay Wilson, Eric Holmes, and Camille Altay. Each are artists in their own right with a distinct practice. In Birds of Prey, their collaborations in studio take on a greater shape, whittled and edited into cosmic formlessness. Although borne of improvisation, you may never know that in the listening. “Vanishing Point” is a tight, coherent work, the sound of a cadre of talented musicians locked in flow. Rippling tones become glacial melodies. Cavernous drums emerge barely from the ether. Rhythms interlock, interpolate. Patterns repeat and dissolve whence they came. There is untold potency in simplicity, and Birds of Prey make it known.

LTD Edition Yellow Screen-printed
Lywood has worked alongside some of the most prestigious names in art, fashion, music and film - from Led Zeppelin to Louis Vuitton, The Venice Biennale to The Serpentine Art Gallery, in a career spanning over 20 years. JUNK sees Lywood stepping into the limelight for the first time with these eight epic psychedelic dance-floor and spaced out instrumental visions.
JUNK is inspired by Vik Muniz's ground-breaking documentary Waste Land, which tells the story of the landfill site, Jardim Gramacho, on the outskirts of Rio De Janeiro. Recycling fragments of German electronica, disco and 80's synth from his childhood and fusing these with new, found sounds, Lywood takes us on a journey through his world of JUNK re-imagined.
Five of the tracks are named after some of the largest landfill sites around the world, and Trash Vortex is named after the swirling mass of plastic waste the size of Texas, in the North Pacific. Lywood stays close to Muniz's mission to 'change the lives of a group of people with the same material that they deal with everyday'.** Cover artwork by Keith Coventry, the celebrated fine artist represented by Pace Gallery**
The debut Cochabamba album comes courtesy of respected sound designer and fine artist Dan Lywood!

Reissue of rare UK ambient techno from ’93-‘94

Cold Blow has joined forces with Berlin’s AVA. Records in unearthing some of the finest ambient techno from the Artificial Intelligence era in a beautiful double LP package. The compilation covers essential cuts from the back catalog of J. M. Adkins’ releases and includes 2 tracks available on vinyl for the first time!

Aside from Descent, a previously unreleased track, the material was previously released on the short-lived Metatone Recordings which was founded by Adkins himself together with Damon D’Cruz known from his preceding Jack Trax label. Today the original releases are sought after rarities which demand high prices on the 2nd hand market.

Compiled from the original DAT tapes and remastered by Andreas “Lupo” Lubich at Calyx Mastering, “Electro Music Union, Sinoesin & Xonox Works 1993 - 1994” reintroduces Adkin’s work as some of the era-defining classics from the early years of techno. A must-have reissue for the fans of early B12, AFX, The Black Dog, Kirk Degiorgio, et al.

Deep space electro by French producer Franck Kartell. Known for his releases on labels such as "Bass Agenda Recordings", "Transient Force" or "New Flesh", just to name a few. This time he makes his debut on Between Places the sublabel of SolarOneMusic. Enjoy his journey into dreamy electro and sience fiction worlds.

REPRESSED !!

Chase me, chase me. Tom and Jerry. Dick Dastardly and Muttley. My two dogs by the fire, contentedly asleep. I miss us, the spark of excitement, the thrill of the chase, the ancient rolls... but most of all I miss making music, our no man's land. And that's what makes it difficult at first to listen to your Haar. I hear the hills in it, I hear the sea in it, I hear whitewashed walls, wind and drizzle, shards of sunlight on Scottish sand, I hear the spark and click of a lighter, I hear you.

When you left my life you took on a new name, a borrowed name, a name paying homage to a legend in folk circles buried deep in old songs and ancient bothy books. And that's you through and through - the cryptic layers, the barely tangible stream of consciousness, the subtle fragility of an idea teasingly explored, the suggestion of a hook, the predictably unpredictable.

Maybe a bloody genius but most definitely with something to say, a perfectionist but never a polisher or one to dwell too long on precious things. Am I talking about the music, Haar, or you To me they are one in the same thing, the sea - you, the ghost-like memories of an old fashioned Scotland - you, the Joyce-esque suggestion of a thousand things without ever defining one - you.
A rich tapestry from a strange and beautiful mind. This isn't a vacuous collection of junk collected by some preening magpie but something real, something built with love, craft and tirelessly acquired skill. Referential yes, but only so as to pay respectful homage to tradition and culture. A precise execution on proper machines with big hands and pop-eye forearms, undeniably heartfelt.

Oberman Knocks makes a welcome return to aperture records since his last release Dilankex in 2014, which featured an outstanding 17 minute remix from autechre.
Working on other projects during this time seems to have charged his creativity and Knocks now propels himself back into the fold for his third album Trilate Shift with cleaner, more polished production and a change of direction which should certainly see his appeal rise across a wider audience.
Last year Knocks produced the soundtrack to The Red Tree, an award winning documentary film from Still films (New York/Dublin) and in 2016 he was commissioned by The Lowry in Salford to produce a sound installation, 30 Days of The Smiths, forming part of their Week 53 festival, a version of which was also performed live.
Trilate Shift sees Knocks serve up fourteen lustrous tracks of proficiency and divergent ingenuity encompassing interjections of disembodied vocals, setting the scene for a distinctive musical trajectory.

Die Gruppe Automat - Jochen Arbeit (u.a. Einstürzende Neubauten, Die Haut), Achim Färber (Phillip Boa & The Voodooclub, Skip McDonald) und Georg Zeitblom (wittmann/zeitblom) - funktioniert wie eine gut geölte Maschine: Sie surrt, sie schnurrt, sie geht unbeirrt ihres Weges. Gemeinsam mit dem Modular-Magier Max Loderbauer sowie Paul St. Hilaire alias Tikiman, Lydia Lunch und Mika Bajinski am Mikrofon präsentieren sie nun mit »Modul« auf Compost Records ihr abwechslungsreichstes und konzeptionell stimmigstes Album.

Die Gruppe Automat funktioniert wie eine gut geölte Maschine: Sie surrt, sie schnurrt, sie geht unbeirrt ihres Weges. Auf seinem vierten Album allerdings schaltet das Trio einen Gang herunter, differenziert seinen musikalischen Ansatz weiter aus und geht fruchtbare Kollaborationen mit anderen Figuren aus der Musikwelt ein. Neben Max Loderbauer, dem Bandnachbarn aus den Candy-Bomber-Studios in Berlin-Tempelhof, mit dem Jochen Arbeit, Achim Färber und Georg Zeitblom bereits im Jahr 2015 für eine gemeinsame EP zusammenarbeiteten, sind das am Mikrofon die Dub-Legende Paul St. Hilaire alias Tikiman, die Königin der Gossenpoesie Lydia Lunch und die Newcomerin Mika Bajinski. Sie alle tragen ihren Teil nach dem Leitprinzip bei, welches »Modul« seinen Namen verleiht: Die acht Stücke entstanden gemeinschaftlich nach einem Baukastensystem, das den Kompositionsprozess dynamisch in Bewegung setzte und gleichmäßig auf alle Beteiligten verteilte. Das Resultat ist ein musikalisches Perpetuum Mobile - ein Album mit dem gemäßigten Ruhepuls einer Dub-Produktion, das unablässig in Bewegung bleiben.
»Modul« bildet als Album einen ständigen Veränderungsprozess ab, der erstmals im Jahr 2018 im Rahmen eines Auftragswerks für das Berliner Festival Pop-Kultur live erfahrbar gemacht wurde. Auf Einladung des kuratorischen Teams erarbeiteten Zeitblom, Färber und Arbeit gemeinsam mit ihren musikalischen Gästen St. Hilaire, Lunch und Gemma Ray ein Live-Set, das konsequent aus dem Studio auf Grundlage einzelner Passagen entstand, die nach dem Prinzip eines Resonanzmoduls miteinander (re-)kombiniert wurden: es geht zwischen den einzelnen Mitgliedern hin und her, die Strukturen morphen und der Sound nimmt immer andere Formen an. Eben dieser Ansatz bedingt auch die ständige Weiterentwicklung der Stücke, die gemeinsam mit dem Produzenten Ingo Krauss zu einem Album geschliffen wurden, das seinen nahbaren improvisatorischen Charakter keinesfalls verloren hat. Im Vergleich zu den drei thematisch ausgerichteten Vorgängeralben »Automat«, »Plusminus« und »Ostwest«, die sich jeweils explizit mit Berliner Flughäfen, dem Genre Dub und der europäischen Flüchtlingskrise befassten, setzt »Modul« auf eine inhaltliche Durchlässigkeit, welche die musikalische Offenheit der Platte widerspiegelt.
Nachdem »Modul 15« das Album mit satten Dub-Sounds und einer rollenden Bassline eröffnet, hebt »Easy Riding« passend zu St. Hilaires vor Fernweh triefenden Lyrics das Tempo mit dezenten Riddims an. Schon im nächsten Song, »Ghost«, debütiert Bajinski mit distanziertem Stimmeinsatz über einem melancholischen Stück, dessen Klangbild von den modularen Beigaben Loderbauers geprägt ist. So geht es weiter über die verzahnten Rhythmen von »Ankaten«, die von den verhallten Stimmen Lydia Lunchs und St. Hilaires begleitet werden, hin zum balladesken »Nothing Strange« mit St. Hilaire über das fiebrige Vocoder-Stück »Who For Eyes« schließlich zu den beiden abschließenden Stücken, »Pavo« und »Modul 11«, welche eine tiefenentspannte Coda zu den vorigen Tracks bilden. »Modul« durchläuft so eine Reihe von Stimmungen, ständig wechselnden Klangfarben und musikalischen Ideen, die sich in immer neuen Konstellationen zusammenfinden. Der erweiterte künstlerische Ansatz ebenso wie das vergrößerte Personal machen das Album nicht allein deshalb zur abwechslungsreichsten, sondern auch konzeptionell stimmigsten Platte Automats, die sich darauf in bester Form präsentieren: Als gut geölte Maschine, die surrt, schnurrt und unbeirrt auf dem Weg ist -
immer in Richtung neuer, unerhörter Sounds.

Ali Zarin, Muslimgauze Archive Series volume 35. Limited Edition 2 x LP

Clear Vinyl

Huerco S.’ West Mineral Ltd. coax out a lather of ambient downbeats and techno mutations from Russia’s Ol & Flaty in their 2nd volume of Serwed material Forged from intuitive live jams recorded in their home studios, Serwed’s sophomore side delivers 10 fractious, shapeshifting oddities full of lopsided, minimalist rhythms and uncanny spatial complexities. Each part is cut from the fabric of longer sessions and highlights points in their creative process where intersections of their individual inputs transcend the sum of their parts, generating strange and inquisitive new permutations of rhythm and sound, or a “kind of new entity” as they prefer to call them. Collected and arranged into album format, they make a uniquely
etheric flux that resonates richly with West Mineral Ltd.’s between-worlds aesthetic and adds up to a surreal and captivating bigger picture.
Variously touching on aspects of abstract techno dub, early-hours dancefloor experimentation, and heartstrung yacht rock strokes, the results smudge definitions of club music in a way that see those spaces as playgrounds for the imagination, and not simply sites of reenactments of the past, or outlets for alcohol suppliers. As such the album offers myriad options for altered state dancers and ‘floor-edge wallflowers, exploring a mutable range of styles between the Dynamo-meetsBellows flux of ‘Initial II’, the nervously stepping tics of ‘Platm’, and the strung-out 0PN-ism of ‘In Spare’, while the likes of ‘Grip’ and the jet-streaked minimal house abstraction of ‘Plane’ are more urgent in their bassy heft.
Ultimately ’Serwed II’ beautifully mimics and evokes a state of blipping thizz associated with the later hours of an MDMA buzz, yielding an immersive, impressionistic trip likely to leave its users gently disoriented but glowing with satisfaction.

LostSoundBytes throws us by force into the deep end of a poorly lubricated engine with this 5 tracks mini album. Hear the dirty mechanical rumble of an old abandoned tractor that LostSoundBytes has just hot wired and driven off with, leaving road kill on his way. Driving fast or slow, you may ask. Who cares ! For our beneluxian shaman puts the pedal to the metal destroying the speakers on the way with Rusty Tractor. A certain vision of combustion by our mechanic LostSoundBytes : saturated rhythms on beaten up drum machines dragging us between Brussels and Paris.

Acclaimed electronic producer Matthew Hodson presents his exciting new project, MATTHS, with ‘Velocet’ released on FatCat Records’ sub label FCR on 17 May 2019.

With his debut MATTHS release, the Brighton-based artist presents two stunning, atmospheric soundscapes ‘Velocet’ and ‘Loop’ which both immediately captivate the listener with their masterful, brooding beats. Using a bespoke modular synthesiser setup, MATTHS has designed and compiled a unique musical instrument that enables the creation of textures and tones specific to personal creative concepts.

Title track ‘Velocet’ is a dynamically charged sonic excursion which keeps on building throughout to a powerful crescendo, providing a clever balance of familiarity and disconnection.

‘Loop’ complements the title track perfectly, an ambient yet powerful cut that develops with layers of rhythm and melody, drenched in arrhythmic delays and swashes of reverb.

Recent MATTHS performances include opening for Wire; supporting Alex Banks (Monkeytown Records), Ulrich Schnauss and Rival Consoles (Erased Tapes). MATTHS has worked with the original BBC Radiophonic Workshop on their new material at Peter Gabriel’s Real World Studios. In May, MATTHS will play the Superbooth Festival in Berlin.

Orestt / Markus Gibb / Disrute / Balaban

This is another incident of despair, hope and rhythmic adventures. Nothing beautiful without struggle.

The first Exit Records release of 2020 sees borderlandstate_the best kisser in l.a join forces for an EP that traverses through different shades without compromising on identity. The collaboration between the pairing came to being very organically according to Borderland State: "Me and The Best Kisser in LA started messing about in the studio a few years back. No intention to finish anything, let alone play it to anyone."

dBridge then heard the tracks and the result is EXIT088, a debut on the label and a great way to start the new decade. The label owner picked ‘Hello Mainframe’ out as his key track from his recent Essential Mix.

The guys go on to shed more light on the creative process:

"Our music develops chaotically. We add things and add things and throw most of them away. We use synths, pedals, and delay units and record them into a laptop which, against all odds, continues to struggle on. tracks live across three or four project files because the layering of sounds is dense. we sample ourselves back and forth, not knowing where things will end up, looking for the right texture"

The significance of dBridge, Exit and Autonomic shouldn't be underestimated for Borderland State and The Best Kisser in LA, we're told that "Our influences are disparate but Autonomic was a constant. without him (dBridge) and Instra:mental, these tracks would not exist."

EXIT088 is a new interpretation of the Exit sound by borderlandstate_the best kisser in l.a, the branches have stretched further and the roots have become stronger as the label continues its unstoppable growth.

For their second release Syntetyk brings you Chino – the Cracow-based jack of all trades. The Cave, with all its dirty drum work and heavy basslines, makes you feel as if you’re going down through a dungeon of clockwork machinery.

Repress!

Back to wreck shop.

On this release we will bring you more funk and stomp, you'll get funky more funky and even funkier
while stomping your feet to these serious bangers.

Detroit ---->----> RotterHague

Tapan are back with their first release since their debut album EUROPA. After that 2xLP emotional and epic Journey they are now showing us again their “dancier” side with two cuts “The Beast” (featuring Serbian musician Jan Nemecek) and Ghana. Both tracks are not easy to categorize. Perhaps Industrial-inspired Tribal-Trance is the closest description, and yet somehow after listening to the tracks it feels like trying to put it in “a box” just don’t do justice with the complexity of the music and its components. Both tracks are remixed by 2 current favorites of the Malka Tuti Crew - Russian duo ODOPT who deliver an out-worldly IDM monster of a remix to The Beast, and Italian-Belgian Duo Front De Cadeaux who pitches the track GHANA even slower, adding more percussive grooves, a fat bassline and a whole lot of of sexiness to the brew.

VAG (Various Artists Geneva) is a DIY compilation of dance and experimental music, consisting of 22 tracks produced by various musicians from Geneva. This limited double-LP is filled with analog-synths, modded'sequencers, drum-machines and amplified instruments, resulting in a surprising collaboration which reflects the bubbling underground scene of the city. The record sleeves have been individually customised, with each one being different from the other, and come enclosed with postcards from Geneva.

"In May last year, I sent an email to a large circle of friends, dj’s and musicians, who gravitate around Bongo Joe Records, our local record store in Geneva. I wrote to them about the idea of sharing their B-sides on a various artists compilation, by delving deep into their personal home-studio produced music library. What followed was a flow of amazing tracks, raw and spontaneous. Subsequently, we all met to listen to eachothers recordings; it was a very powerful moment.

The process quickly became an 'anonymous' project, with the idea that both established and non-established musicians should all be equal, without their personal egos getting in the way. Some of the artists had never released any tracks before. The final set of tracks, which eventually made it onto the LP, were selected by three members of the group with the intention being to draw a musical landscape across all 4 sides. The mastering was done by Lad Agabekov in Gimel, Switzerland. The 500 double LPs arrived with a generic white sleeve to be designed by our friends and the general public: all the covers are unique in this sense.

One year on from the inital idea, we now have this beautiful and unpredictable compilation of various artists. It brings together a group of highly talented individuals, to enable us to discover the hidden underground scene of Geneva, with all its grit and soul. "

SIS003 welcomes Boston's deadliest modern wave duo Dead Husband to the SISTERS family across the murky waters of the Northern Atlantic for a host of dance-floor focused workouts.

A mixture of syncopated drum work and reverb drenched arpeggiators define Dead Husbands debut on the label across a capricious collection of tracks/music.

Doug Lee gives Facial Recognition the usual An-i treatment drawing out a monologue of emotion through the sub bass and sweet undulating use of distortion which constantly helps the track and the low end move forward, whilst electro aficionado Privacy offers up his take on the track with a rolling 4x4 composition true to his unique modus operandi, slowed down powerful.

And a remix debut for Papers, 5 years after down tooling from their white label series, they round off the record bridging the Atlantic gap with their distinctly steezey techno sound.

Then Again' by Orson Bramley is the second release on the Memory Box label. Orson is the founder of British electro funk pioneers Transparent Sound, one of the UK's longest running electro acts. This is his solo work under his own name. Orson has been playing some live Acid House shows at Memory Box parties and this release is the fruit born from the live show. The A side includes the original mix which is an acid electro crossover, plus a four to the floor mix and a beautiful ambient strings mix. The B side sees two remixes from acclaimed producer and Memory Box head honcho Robin Ball, who is also known for his work as Resonators on his recently re-launched Groovepressure label. The first is under his new breakbeat rave alias Robin Beats and the other under his own name which sees him take in a deeper house, techno, electro vibe more akin to his Groovepressure label.

Until Here For Years is the 11th studio album from Proem, and the first since 2010's Enough Conflict that is in the more experimental electronica style Richard Bailey is most known for.
Until Here for Years is being released just a month before the 20th anniversary of his debut album Burn Plate No. 1 and Until Here For Years has all the hallmark Proem components, that are still as prominent as they were 20 years ago.
Malfunctioning drums, the fat rounded basses (this time out doubled on fretless bass), and those heartstring pads. Oh, the pads! This is where Proem has always differed from his contemporaries. Scholarly enough for the chin scratchers and sufficiently cerebral for those that could care less how the sounds might have been conceived. It's a fine line Bailey has always walked with ease.
Every part of Until Here For Years, including the artwork, utilizes an esoterically obscured source. JSON documents, synthesizer schematics, hex values, and even SVG files are used as a basis for his creative input. In other's hands, it surely would sound like an academic exercise, but Bailey makes emotively arresting music from such abstruse sources. Until Here for Years is undoubtedly a return to form and ultimate treat (and thank you) to Proem fans the world over.

Attraktors are JFlower: Antronhy: Jhon:

Former members of Six.BySeven: Bivouac: Julian Cope: The Selecter: Nectarine No9

Inspired by Minimalism: Fripp: Eno: Marcel Duchamp: Krautrock: Proto-Punk: Soundscores: Sci-Fi: Computer Science.

Constant Sound's electro arm, Infiltrate, calls upon the considerable talents and technical heft of London Modular Alliance for a bruising EP of body-popping exploration strapped to a tough n' funky beatdown. "Crack Fox" is as nervy and nimble as the title might suggest, while "Regular Customer" takes things in a hyper-detailed direction compatible with the kind of advanced machine funk you expect from Silicon Scally. "Blinky" follows suit with another artfully woven web of twitchy synth hooks and deftly sequenced drums, and then "Other Worlds" switches things up with some seriously hefty bass pressure pivoting around a dubstep attitude towards space and moodiness.

Shanghai’s game-leading Svbkvlt cru drop a vinyl edition of the Aphex Twin and Kode 9-backed ‘Cache 01’ set, brimming with forward club zingers by Tzusing, Gooooose, 33EMYBW, Gabber Modus Operandi, Zaliva-D and many more ‘Cache 01’ speaks to the abundance of prism-pushing electronic mutants presently at work in the Far East. Where too many Western artists right now are caught in the retro-vintage, shabby chic trap, every one of the artists featured here embrace the here and now, and what’s to come, with a fervently infectious alacrity and directness that’s hard to ignore and has seen the label showered with praise from all corners of the worldwide music media.
We’re all spoilt for choice with the highlights, but a few really stand out. The wildly ricocheting 808 proprioception of Gooooose’s ‘Arp Kicks’ is right up there with the best we’ve heard in recent years; Swimful impresses with the hard-ass, keening grime designs and descending sirens of ‘Nailz’; Indonesia’s Gabber Modus Operandi send us reeling with the mix of wailing traditional horns, gamelan and gabber kicks in ‘Sangkakala II’; Hyph11e precogs the deathly march of the robots with the reconfigured D&B and noise of ’Sinking’; MIIN strikes a class fusion of dembowdancehall and IDM in ‘Metagame’; and Zaliva-D exert a powerful sidespin with the rugged battery of ’Synthetic Sin’ inna Low Jack style.
Hands-down it’s the most vivid and thrilling showcase of new electronic music from the Far East,or anywhere else for that matter, in years. A real no brainer.
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