Beats Vinyl New Releases - News

Lapsus Records proudly presents the third release in its “Perennial” series, dedicated to reissuing
contemporary electronica classics from established artists.

The third release is from Christopher Scott Leary, who over the last two decades has produced a plethora
of material under his pseudonym, Ochre. 2019 marks 15 years since the original release of “A Midsummer
Nice Dream” in 2004; on British label Toytronic, which pushed Leary to the forefront of the experimental
electronic music sphere. To celebrate the releases’ fifteenth anniversary, Lapsus Records will reissue a
special collector’s edition of this IDM classic in the form of a double tri-colour vinyl release, re-mastered by
John McCaig (panicStudios). It will also include a full-colour print of the new artwork, re-designed by
Portland (Oregon) illustrator Nathaniel Reeves, who has worked alongside Ochre for almost a ten years.

This special deluxe reissue entitled “A Midsummer Nice Dream (15th Anniversary Edition)“, features
unreleased material from the same period and includes three bonus tracks on its vinyl version, six on its
digital version, making it a truly unique release. It therefore offers a golden opportunity to rediscover an
album that navigates through several genre domains such as ambient, IDM and experimental electronica in
its purest form, stylistically reminiscent of the likes of Autechre, conveying a sound considerably ahead of its
time. In its entirety “A Midsummer Nice Dream” is undoubtedly one of the most remarkable electronica glitch
albums to be released in the 2000s, when the genre experienced its zenith, largely thanks to the advent of
significant breakthroughs in digital production tools.

Bristol based Rhythmic Theory, known for working the dark and mysterious edges of bass heavy techno and drum & bass, returns to Creme Organization. After his first work for the label in 2017 he now brings a fulsome nine track mini-LP 'Mechanised Dreaming', exploring the dark corners of ambient and synth based intrigue. Previous releases landed on his self-titled imprint and labels like Idle Hands, BRSTL and Blackest Ever Black offshoot A41. Atmospheric sound design is at the fore here, with cinematic soundscapes crafted from broad synth smears and plenty of subtle little motifs. The music paints pictures of a metropolis during the dead of night, or a former industrial factory reduced to a hall of echoes and shadows. There is subtle tension built from sustained chords and plenty of suggestion of weird lifeforms in the icy ticks and scuttling footsteps of thew a-side. Side b is less dark and dank, with slightly brighter synths and wider horizons all explored. This is a truly immersive and emotive listen that always keeps you absorbed.

Second release for Nantes based Abstrack crew. Three takes on obscure ethnic recordings with an unknown origin! Abstrack comeS up with A batch OF music that sounds like them : spanning all the way from trippy grooves to heady dancefloor material.

An unbelievable anecdote from the 20th century led to these three tracks. Breaky and trippy vibes are played with on the opener : coming in and out of the groove, while the ambient air is sparkled with surprises. Malcolm TURNS up with a rolling acid and drums workout, coming up subtly and bringing hands upwards for sure.
Label man Vidock goes afro, epic and vocal on the last piece. A track to open up the vibe without losing dancefloor intensity. Super emotional and beautiful.

The (true?) story behind the record :

The Traumstatter Phonogramm Archiv is host to one of the world’s largest ethnographic recording collections. It was created in September 1901, when a group of Indian musicians came to Traumstatt, where Blois Schauder, a psychologist at Berlin’s university and Xiu Pu Sonmi, a physicist from China recorded them on an Edison cylinder.
150 000 ethno-musical recordings have joined the collection since then. During the cold war, many cylinders and tapes were safely kept out of danger out of the country and sent to the four corners of the globe.
After the wall came down, the repatriation operations started, and in April of 1990, the Miquelon-based ship “l’Herminie” sailed out, with a large number of recordings on board. Ten days later the ship sinks. The eight crew members were rescued by a Swedish cargo ship and a few floating trunks along with them. The few tapes that didn’t sink aren’t the main concern, and they end up in the posession of a swedish sailor.
After reading this unbelievable story in a collection of anecdotes from the 90’s, an investigative work began, leading us to track down two of the tapes. We digitized them and sent them to several musicians and producers. The difficulty to give them an age or a geographic origin gives us the feeling that they come from an unknown land and time. Dreamtown Ethnic Tapes is intended as a wink to this beautiful story, that started a century ago, in the city of dreams…

Second release for Nantes based Abstrack crew. Three takes on obscure ethnic recordings with an unknown origin! Abstrack comeS up with A batch OF music that sounds like them : spanning all the way from trippy grooves to heady dancefloor material.

An unbelievable anecdote from the 20th century led to these three tracks. Breaky and trippy vibes are played with on the opener : coming in and out of the groove, while the ambient air is sparkled with surprises. Malcolm TURNS up with a rolling acid and drums workout, coming up subtly and bringing hands upwards for sure.
Label man Vidock goes afro, epic and vocal on the last piece. A track to open up the vibe without losing dancefloor intensity. Super emotional and beautiful.

The (true?) story behind the record :

The Traumstatter Phonogramm Archiv is host to one of the world’s largest ethnographic recording collections. It was created in September 1901, when a group of Indian musicians came to Traumstatt, where Blois Schauder, a psychologist at Berlin’s university and Xiu Pu Sonmi, a physicist from China recorded them on an Edison cylinder.
150 000 ethno-musical recordings have joined the collection since then. During the cold war, many cylinders and tapes were safely kept out of danger out of the country and sent to the four corners of the globe.
After the wall came down, the repatriation operations started, and in April of 1990, the Miquelon-based ship “l’Herminie” sailed out, with a large number of recordings on board. Ten days later the ship sinks. The eight crew members were rescued by a Swedish cargo ship and a few floating trunks along with them. The few tapes that didn’t sink aren’t the main concern, and they end up in the posession of a swedish sailor.
After reading this unbelievable story in a collection of anecdotes from the 90’s, an investigative work began, leading us to track down two of the tapes. We digitized them and sent them to several musicians and producers. The difficulty to give them an age or a geographic origin gives us the feeling that they come from an unknown land and time. Dreamtown Ethnic Tapes is intended as a wink to this beautiful story, that started a century ago, in the city of dreams…

Durban gqom ambassador DJ Lag and London-based Okzharp combine over four club heavy tracks rooted in their long-term long-distance connection, the EP’s title originating from the Durban nickname for the local clubs where much early gqom-style music was played. Opener ‘Now What’ layers a wooden percussion scraper with a ticking cow bell and chants. Set at a slightly faster pace than most gqom, the track harbours a dark energy at its core generated by a low rumbling background synth and pitch shifting claps.

‘Steam One’ - inspired by DJ Lag’s set at Hyperdub’s club night Ø after he brought the heavy steam room vibe - has a slow and entrancing build up with a subtle melody layering on stabbing syncopated kicks, leading up to awoozy synth breakdown. “We were inspired by that moment in the club when things get hazy and bendy and glowy. It has South Durban via South London DNA, so inevitably there's a heavy kwai-gqom vibe with a grimey funky London twist running through it”. ‘Nyusa’ opens with a grinding acidicbass line overlaid with a metallic and gravelly melody with suppressed chants.

Sharp kicks drive the track leading up to a wobbly synth breakdown and back up synth stabs raising the energy. Finally, ‘Sambe’ pairs menacingstrings with a steel drum melody, displaying characteristics of both funky house and gqom in a subtle meeting of the two styles. ‘Steam Rooms’ is a collection of dancefloor heaters set to make the club sweat, the amalgamation of a London / Durban link up reflecting both producers environments and sound palettes for icey cold gqom tracks with funky house shadings.

On Eternal Children, “forward thinking music group” Equiknoxx, comprising of – (Shanique Marie, Bobby Blackbird, Gavsborg, Kemikal Splash & Time Cow) do something they have never done before: express themselves as a collective.

For the better part of a dancehall decade, producers Gavin “Gavsborg” Blair and Nick “Bobby Blackbird” Deane have created a who’s who list of collaborations including Aidonia, Busy Signal, Masicka, Kabaka Pyramid, Spice, Beenie Man & Missy Elliott; while Jordan “Time Cow” Chung and Gavsborg have scored numerous ‘Album of the Year’ accolades from publications such as FACT, Pitchfork, The FADER, Passion Of The Weiss & Rolling Stone with their Bird Sound Power and Colón Man releases parsed and pieced by Demdike Stare & Jon K for Demdike Stare’s DDS imprint.

Eternal Children however is the result of five (5) creative forces combined to form the group Equiknoxx. Three producer/vocalists (Blair/Chung/Deane) combine with two (2) vocalists: Shanique Marie and Kemikal for a comprehensive family affair. Shanique Marie’s debut EP “Uno” was produced by Gavsborg & Bobby Blackbird while the lyricist Kemikal’s only previous solo foray “Graffiti” was handled exclusively by Chung. Eternal Children represents the synthesis of ideas as the group created the album in typical organic style, recording half of it in a single session at the legendary Anchor studios in Kingston, Jamaica.

The resulting eight track effort is as eclectic as the collective; spanning experimental and classic dancehall, hip hop and even a ballad, all while staying true to the unique sound they have become known for. From abstract sound and astral storytelling from Kemikal and Shanique Marie on the opening track Solomon Is A Cup, the pace jumps several notches on the energetic ode to the borough of Brooklyn. Shanique Marie returns to the dancehall lashing line after line on the Riddim driven Corner and takes the lead once more on a tribute to the city of Manchester (fast becoming a second home to the group). The track also features Swing Ting lyrical heavyweight Fox and was co-produced by the younger brother of Gavsborg: Brent Blair aka Brent Bird.

Side C sees Time Cow on the buttons for Good Sandra complemented by the pen of a witty Kemikal & Gavsborg plus the suave of a cool Shanique Marie. Move Along performed by Shanique Marie & Time Cow is a sub 150bpm belter that was conceptualized somewhere in Eastern Europe prior to an Equiknoxx Live Set. Both tracks are reminiscent of the hard hitting off-kilter rhythms of Bird Sound Power and Colón Man with vocals that could only be delivered by those intimately familiar with the psychedelic offerings. In keeping the family close, longtime Equiknoxx collaborator Alozade makes a feature appearance alongside Kemikal & Gavsborg on the penultimate Grave: a dark assault on the senses. Eternal Children closes with the soothing Rescue Me, a duet with Blackbird and Shanique Marie that occasionally trespasses into a pseudo-pop territory.

Eternal Children represents a new direction for the collective, venturing into parts unknown. They are not totally alone on the journey as several familiar faces were key in the release of the project: Karen Cazabon (Sleeve design), Rub-A-Dub (Distributor), Mothashipp (Mixing) and Nick Sinna (Mastering). The cover art was done by Bobby Blackbird himself. The direction of the entire project would have been an impossible task without the guidance of Balraj Samrai of Swing Ting Records

Irie Mona goes for a Dub adventure on Mystery Booms ! An already two classic tunes EP in town. He’s a producer based in Lyon since a decade and he perfectly knows how to inject new digi-attitude in the old-school way of dub productions. A perfect ballad for some delicate sunbath. Two songs to sing onnnn! Its a tribute to Dub Masters Tubby and Pablo, delivering Sunshine Skanks, Spring Beats and Sisters and Brothers Love for the Summer.

Early Support : Judaah (BFDM), Tarba (BFDM), The Pilotwings (BFDM), Sacha Mambo (Macadam Mambo), Leo James (Berceuse Héroïque), Nummer, Chez Emile Crew, NVST, Folklore Crew, Groovedge, Emeline XIII (Sumo Smash), Warzou (Jump, Nous Disques), Eddy Larkin…

Repress!

Leaving convention at the door with the industrial ambience of opening track ‘Belief System’, before delivering a collaboration with label boss Mønic in the shape of ‘Loyal to the Unsung’, Jason Luxton’s latest outing as Overlook is no way concerned with conformity — something that should come as no surprise to anyone following an artist who’s always been comfortable walking the fine lines between multiple genres. On the B side, ‘Séance’ brings high-frequency tension over distorted drums, before proceedings conclude with a half-time swagger of ‘Sleight of Hand’.

PYRAMID TRANSMISSIONS presents the 1st solo release on the label from PT partner PATHIC.

PATHIC (John Cranmer) is no stranger to Electro heads as he has been releasing beautifully crafted Electro trax for 20 years now, releasing on Outside Recordings, Cultivated Electronics, Minimal Soul, Earthlings, Ai and Pyramid Transmissions.

REBIRTH ep is a sublime mixture of Electro music with stunning tinges of Detroit Techno and lush pads over deep and funky 808 beats that is the signature of PATHIC's music.

On ‘Ways Of Seeing’ Konx-om-Pax has switched up the mood and hit gold. He has made an album that is filled with joy and sunshine, saturated with the classic feel of Berlin Techno.

Tom Scholefield has moved on from the dark ambient and brittle rave of the first two Konx-om-Pax albums, which were a reflection of his hometown Glasgow's electronic music scenes. After a recent move to Berlin, the textures of Glasgow's musical strains have fused into an accessible and friendly mix of poppy melodic electronica built from a stricter 'less is more' sound pallete, closer in spirit to the music of his adopted city. It is also a record which was made in opposition to recent music he has been hearing, in particular the troubled, dark and noisy experimental music coming out of Berlin. Tom wanted to focus on more joyful qualities, making this a record imbued with warmth and happiness, a panacea to the darkness and disorientation all around in 2019.

Having a social scene full of producers has also influenced the album. The opening track 'LA Melody' came from staying with Ross Birchard (Hudson Mohawke) at his house in LA, hanging out in the glorious sunshine with him and Lunice working on tracks.
"Initially Ross asked me to write some melodies to use in a project he was producing, but I ended up liking it so much I decided to keep the riff. I generally write music alone, but being around other producers gave me a certain excited energy that reminded me of after-parties back in Glasgow where Ross and myself spent our youth together. Spending time in Clark's studio also helped me improve my workflow and sequencing the album by seeing the way he does things". On 'Säule Acid' he collaborates with Silvia Kastel and in 'I’m For Real' the vocals of Glaswegian DJ/producer Nightwave filter around the track.

Tristan Douglas returns to Planet Mu with his third Antwood album, the epic ’Delphi’. Tristan has always used conceptual frameworks to facilitate the writing process and ‘Delphi’ is no exception. This time Tristan worked with his girlfriend Olivia Dreisinger to develop a fictional character: the young lovelorn Delphi. She is represented throughout by a recurring melody, with the album developing the story around her. Deeper than this however, ‘Delphi’ represents the hurdles faced by modern lovers, and those felt personally by Tristan, as the album encompasses a wide range of his emotions. The character ’Delphi’ finds solace in escaping to a place, her namesake, the ancient Greek city. She gets lost in her fantasy, realising it is not as she had idealised. “Olivia and I started making the album cover as soon as I knew what direction ‘Delphi’ was headed in. I took objects that had significance to me at the time of production and physically recreated them as “Delphi world” objects, so that the album’s narrative and each track are represented in the cover photo. If you flip the album over, there is a computer rendering by Paulin Rogues of the two landmarks in the ancient city of Delphi - not quite ancient or modern Delphi, somehow real life but also fantastical.” Delphi is an album where the real and the fantastic combine, where functional club music meets evocative piano miniatures. “I ended up working on ‘Delphi’ for over a year, where it developed and grew in parallel to my own life. It became story-like, and I embraced the story-like quality of it.” Perhaps the story of ‘Delphi’ is the story of our own lives. LP A: Skype Ghost Club Dread Delphi Queasy A Hostile Message Healing Labyrinth Portal B: First Delphic Hymn (To Apollo) Cave Moth Castalian Fountain Ecstatic Dance Delphi's Song Some Dust

Two high grade tracks by one of Grime’s greatest producers D.O.K. 06 is Grime at its purest; gliding synths, weird bleeps and a heavy bassline whilst the flip Look Uno continues on the Coolie Joyride path. Relentless beats, a heavy sub and catchy samples. Perfect. Out on the 19th of July on marbled purple vinyl

Sketches by Jorge Antony Stride is a compilation of compositions edited or created from longer improvisations and ideas made in 2017. The basis of these songs were experimental in nature, though mainly to serve as documentation of ideas and development.

Bedroom Tapes is comprised solely of lost material from a recently discovered box of cassettes that emerged in the process of a house move. These tracks capture some of Paul Woolford’s most wide-eyed and naïve creative impulses at a tender age.

Seemingly lost forever, some were part of sessions that led to him being signed to now-defunct UK techno imprint Blue Basique. This is the first chapter in this archive and an intimate portrait of the artist at a key stage of his creative development.

The tracks have been carefully mastered with a loving hand by Matt Colton who has been meticulous to retain their idiosyncrasies.

Welcome to a new chapter to the LDDLM American branch. Hailing from Philadelphia, city of the founding fathers and new resistance, Thomas Roland and James Weissinger, residents of local church Making Time, have been on our radar for a while now. It’s a pleasure to have them and their personal LSD spreading their gospel through our humble label:
“It’s strange days in Philadelphia: antihistamine dreams, cellar dwellers on the run, wet money plugging up cracked fish tanks. Searching for songs of self-care from the pit *and* the pedestal? Let your pupils roll back in your head, we all need to find our NRG somewhere…”

On remix duty, another beloved duo, Khidja, turn the slow burning SHE TAKES NRG (a personal hit, electroclash stucked in tar) into a stripped down tripped out electro groove; While BAD BATH and DON’T YOU LOOK AT ME (THAT WAY) burn the border between wave and lysergic chug.

Enjoy. Do not respect the dosage.

Document One are very proud to unveil their debut self titled album. Over the years, Joe and Matt have had an illustrious production career dabbling in all flavours of underground dance music. Not deviating from D&B tempo, this album goes back to where they started while showcasing how far they’ve come.

"We’ve spent close to a decade working together as Document One within UK bass music. We’ve toured over 30 countries across 4 continents, we’ve watched so many of the musicians we admire perform and we’ve been exposed to so much culture along the way too. This album is a cross-section of who we are as musicians, as people and most importantly a duo.”

Georgian artist Sophia Saze releases her debut two-part album 'Self' on Francis Harris' Kingdoms imprint, with part one dropping on cassette this June. "The record embodies my story of duality within the context of identity, insomuch as the idea that every person has a deeper layer we don't show on the surface."
Born in Tbilisi, Sophia Saze is the daughter of political refugees who's spent her life living in numerous different countries before eventually finding home in Brooklyn. Finding it difficult to find her own identity due to living a nomadic lifestyle, the classically trained musician became entangled with electronic music before becoming a key player within New York's nightlife scene and launching her Dusk & Haze imprint in 2017.
A reflection of her struggles throughout life, 'Self' is very much a memoir of the many different places she's lived during her journey, including Georgia, Russia, USA, France and Canada. Contrasting to her recent productions, which are geared more towards the dancefloor, her debut longplayer is downtempo and features a medley of musical influences - mixed in two parts and released as a concept album on cassette. Maintaining a sonically raw feel throughout, 'Self' draws the analogy of analog to modern day digital culture whilst also taking a stance against perfection, whether integrating the distance crackle of her machines or intentional off-beat piano notes in minor. Part One was conceived, for the most part, during a sleepless yet inspired 48-hour studio session. Processed field recordings accompany samples from her childhood, such as soviet cartoons and intimate VHS recordings of her family. The result is a well-seasoned and personal story portrayed in fourteen tracks mixed together.
"I feel the element of patience is somewhat of a lost commodity in our generation, particularly for albums. We're consumed by track to track interpretations and constantly searching for the next instant stimulation. With this record, I wanted to reiterate the idea that if you don't have the willingness to sit through the whole thing, then you're not stepping into it with the right mindset to begin with."
Every artist who collaborated on the record is handpicked, such as vocalist Ricardo Rivera. The final production was also mixed by Francis Harris himself. All of their involvement means they share a fragment of the concept.

Pumping West Coast electro in a new jacket, with bouncing 808's, driving acid, and old school futuristic vocoders.. Kleptocracy's are taking over the planet and humans are getting entangled in their own web. We need some extraterrestrial help. In the Thee J Johanz remix a bunch of oversexed electro disco aliens are coming to save the planet by love and destruction. Justin Cudmore (Bunker NY) is taking it to a darker space in his more abstract and highly effective remix. Three massive 808 floor fillers!

On the A1 Chekov follows up their moves on Peach Discs and Timedance with a proper peak timer, they've been described by Ben UFO as 'king of the build up' and that's evident on this one. At the A2 London's Doppelate makes their Cong Burn debut with an elegant tech-house roller. Fresh from Russia's underground is Camin, on this, his debut 12" release he drops a useful tool which squeezes between electro and techno. Cong Burn founder Howes closes the B side with some warm hypnosis that could have landed in the golden era of Workshop.

The fifth release of the label returns us to the first compilation UNIVERSE.
This time in orbit you can hear (as in the first release) the French producer Umwelt with the apocalyptic doom core track ""Fallen Empire"". Also a collaboration of the Mosaique label owner Moralez and the legendary American EBM/ Hard Core artist The Horrorist. They were joined by a hypnotic composition from the Mannequin label owner Alessandro Adriani and accidentally surviving track (after the death of the artist's music storage) from Greek artist Morah, who's was released on Helena Hauf's label Return To Disorder. Vinyl only.
Mastered by Moralez at Dark Crusader Studio (Saint-Petersburg, Russia).

Dinosaur L is an alias donned by Arthur Russell, a man whose contribution to dance music from the late seventies and through the eighties was formidable but only quietly acknowledged. His innovative and left field dance records were way ahead of what people were used to hearing at the time. He was a cellist who studied classical and Indian music. As well as his great strides in dance music he was also involved in the New York downtown avant-garde music scene and produced some albums in a more avant-garde / experimental vein as well as trying his own unique approach to pop. He scored several hits on the underground New York dance scene at clubs like The Paradise Garage (Larry Levan was a huge supporter). His biggest tunes, 'Go Bang!' and 'Is It All Over My Face' were worldwide club hits and are still played today as classics. His records have influenced the scene from his first dance record in 1979 to the present day and his work has been much sampled. Sadly Arthur
died in 1992, but his music lives on and his influence is still felt on the dance music scene, his tunes still sound great and are still moving many dancers around the world, so his spirit lives on. Sleeping Bag Records and Traffic Entertainment Group is proud to present Dinosaur L's '24-24 Music' for the first time ever on double LP. Includes the original album tracklisting plus rare 12'remixes and edits.

Vinyl LP (incl. DL-Code) from an artist in their seventies, you probably wouldn't expect to hear an album like this.
But Brazilian drumming legend Ivan 'Mamão' Conti has been experimenting and innovating for the last half a century.
Take a bite of Mamão's psychoactive Papaya and join the maestro on a weird and wonderful stroll through the Brazilian jungle.

While being best known for creating deeply immersive live psychoacoustic experiences, the London based Pataphysical have allowed us to use 'Periphera', the fruits of their debut studio work, as the label's eighth musical oblation. It would have been an exercise in futility to try and replicate the immediacy of their live performances on this record, but we feel that across these 8 disparate tracks inner worlds have been rendered real. Through the careful positioning of field recordings and the creation of soundscapes somewhat reminiscent of heyday Mille Plateau the group have held fast to a desire to craft involved and captivating synthesis.

A joint release between Natural Sciences and FTP, Texas Terrotech volume 1 is a combination of hyper-frentic futurism with the gritty global sound of the streets, wherever it comes from. It's the pop music on the radio, combining that with innately adaptable, yet eminently absorbable form which evolved in these different little things, all compatible , yet closely related. When they are decoded from the genome of our global musical collective, their inter-relatedness becomes even more clear, and a new perspective can be gained.

The internet made everything smaller. It turned the territory into the map, destroying the physical borders between geography and genres, reducing it into digital code, breaking it into bite-sized bits. This is the sound of the phuture digesting the people.

This is the sound of the global underground

eudemonia presents a fresh EP by the always surprising Too Smooth Christ. Just in time for summer season the release showcases five playful and versatile tracks ranging from house and electro to ambient - each with their own distinctive character. Profits will be donated to Musicians Without Borders.

Church Marble 005 is upon us and it comes from Cape Town, courtesy of Biodive.

For their 5th release the London label born of the clubnight of the same name make a b-line straight for the dancefloor. The title track of Desert Sound Colony's latest EP is equal parts anthemic vocals, stabbing guitar lines and a motorik backbone which combining for a hefty slice of post-punk inspired dancefloor churn. Two B-sides take the themes found in Lose My Rhythm and head down the rabbit hole to drown you with a flurry of breaks led rhythms on Suffocation and put you to rest with the pitch black basslines of The Blacksmith.
On the remix front local hero Scott Fraser delivers an acid drenched expansion of the title track.

New release for La Beauté Du Négatif.

A various artists including the legendary Italian duo Monomorph (aka D'Arcangelo) with an epic & rare ambient track released only in cd in 1996 on an obscure compilation produced by the defunct italian label Disturbance Records . In A2, this 10th release features one of the most relevant electronic producer of the last years, the enigmatic Brainwaltzera. The flip side is very well populated too: welcome back The Jaffa Kid (one of the finest junglizer these days) , SSIEGE (pure esoteric ballad, divine!) & the label boss, Rawmance.

Italian producer Andrea Natale lands the debut iteration of his new project, Anna Funk Damage, which finds him engineering a playfully deviant assemblage of steely industrial percussiveness and gritty post-Freudian / libido-filled machine talk. Setting the tone straightaway, the A-side 'Here Right Now' goes straight for the jugular, blazing its way across a flaming hotchpotch of face-melting electronics as it blends exuberant bleeps and gut-churning drums on war-mongering mode for a sustained wrestle in the basement. Flip sides and the screwed-up eroticism of 'Click Facial' will grab you by the scruff of the neck to drive you amidst a filthy orgy of analogue distortions, X-rated samples and abstract modular implementations. Or simply imagine the result of recording David Lynch 'Eraserhead' over a static-filled vintage porn reel - it's just as spitting an image. Punishing hours in the pit ahead. Full transparent 8" sealed in beautiful half silver/half transparent sleeve. Ultra limited edition of 50 copies.

A machine mirage. A hallucinogenic haze. Where Moogs mimic animal noise. Sine waves and tribal toms send jungle signals. A twilight chorus in a forest of sound. Its deep, deep, blue canopy lit by shooting stars. Third eye lightening. Wildlife roar, and temple gong drone. A bubbling skunk Funk swamp where New Age meets Nuova Neapolitan Fusion. Tubular vibrations give rise to flights of birds. Bongos back Belleville, Michigan, relics. Bottomless bass exudes womb-like warmth. Drums dance in Nyabinghi ceremony, while gurus question God`s plan, and your place in it. Discuss the search for freedom, through spirituality, and drugs. Conclude that 'Freedom without balance is destruction'. This Cosmic chatter intro-ing beatless calm. A float on primordial ooze with John C. Lilly. States altered. Trance taking hold. Time a mere construct. Snake charmer melodies sing and tempt, hypnotic like Kaa. Shimmy to percussive sambas. Percussion hits resonate. Metallic gamelan smashing through Digidub. Ancestors calling through echo. Fragments ping-ponging, colliding. Into an eternal infinite. A post-Singularity fourth world. A post-Human Eden. Mechanized. Paradise reborn.

Karen Gwyer returns to Don't Be Afraid with her first new work since 2017's Rembo LP, which gained critical acclaim for its powerful body music and melancholic melody led pieces. Man On Mountain EP is a further evolvement of the duality and nuances in moods and emotions that make Gwyer's music so impactful. Resetting, rebuilding and subverting atmospheres and rhythms is a constant in her music and Gwyer builds on that more in this latest instalment.

The low swung weight of opener Faces On Ankles' bassline is full of suspense, alternating between rolling fluidity and unpredictable kick patterns, while a dubby melody dances alongside glossy, introspective arpeggios. The EP then weaves suddenly into cosmic drone that snarls with tension and desolation on Ian On Fire. You can sense contrasts between these two musical spaces – luscious, bouncing techno that nods directly to Gwyer's Midwest upbringing (Faces on Ankles, Cherries On Shoulders) and darker drone experiments where light peeks through the composition that adds balance to the mood, (Ian On Fire, Ribbon on Neck). Gwyer's music takes a different path with each record while holding onto elements of previous incarnations of her sound and Man On Mountain adds new dimensions to the bold and open minded spirit she embodies.

Mind Records and Spooky are proud to announce the official reissue of "Tapas", an indescribable and beautiful album by Sueño Sueño, a mysterious German duo from Mainz.

Little is known about this album, which was originally released on
cassette only in 1983 by Eduardo Van Kasteren (member of Van Kaye & Ignit) on his label Ding Dong Records.

What we do know is the arousing curiosity it triggers as it unfolds, it feels like a fantasy summer holiday in a dark metallic wintery world, as if somehow Mainz had become a Balearic island. Some comparisons can be made - Naffi Sandwich, Swamp Children, Maximum Joy, Young Marble Giants - but these, all lack the unique ice cold synthetic Latin sound of an imaginary German 80s tapas bar where "Sueno Sueno" all work.

This EP is based on 5 different structures of sequencer manipulations, as the cover art suggested. I made some prototype of sequencer module in Max/MSP, then organise them and forming interesting results, finally record them into the computer. Each of the sequencer are not only sending out pulses, but also changing control signals.

Originally released in 1985, "Saunetic Fraction" finally gets a reissue (limited to 100 copies), and staying true to the original, once again on tape! A collaboration of France's M.NOMIZED (aka Michel Madrange of No Unauthorized) and Belgium's UNOVIDUAL (aka Henk Wallays of Micrart Group / co-founder of the 3rio tape label with Magisch theater and Dirk Ivens of Absolute Body control) . The 18-track album is a diverse beast, but affirms itself among the grandees of Minimal Synth and Electropunk, whilst maintaining a unique twist. At times coming across as the French / Belgian version of Chris & Cosey, there are also elements of the early cut-up Dadaist experimental oddness of Cabaret Voltaire. A much sort after tape, that was originally released in a ludicrously small edition, on Unovidual's own label.

*Please not that the tracks: "Aerial Waves" + "My Geisha", do not appear on the cassette, due to side length issues.

MORE INFO:

M.NOMIZED: Synthesizers, Tapes, Treatments, Loops. / UNOVIDUAL: Synthesizers, Vocal, Drum Box.

Music composed and played by: M.Nomized & Unovidual. Thanks to Peter De Middeleir (Belgium) and Fraction Studio (France) for recordings. All rights reserved. P. 1985.

Greenlight by DJ Manny is the fifth release from TEKLIFE Records. This 10 trackLP is a masterclass in footwork production by one of TEKLIFE's leading figures. Born and raised in Harvey on the South-Side of Chicago, DJ Manny has been footworking since the age of ten. The Footwork sound has developed in unison with the dance style that accompanies it, and Manny embodies this synergy.DJ Manny is without doubt one of the best dancers on the scene, harnessing control, grace and power in every movement. So when he steps into the studio, he knows instinctively how to create tracks that make you want to move your feet.Instead of relying on chopped up samples, DJ Manny is more inclined to pickup the microphone himself, and this gives Greenlight an original and individual personality.On the opening track titled Way you Move, his flow is soulful and almost vergingon melodic. His laid back drawl sounds equally great on club bangers like Life in This Bitch and If U Want It. As a young man, DJ Manny was the protégé of the late great DJ Rashad, and Rashad's influence reverberates through classic - sounding footwork tracks like Boop Me Down and I'll Hurt Ya Baby.Elsewhere on Greenlight, DJ Manny explores different moods to great effect.Ghost Out is atmospheric and menacing, with a sparse, minimal rhythm and fearsome lowend pulsing through siren synths. Life In This Bitch is a defiant statement of self-affirmation, and Zancrash feat. DJ Taye is uplifting and dreamy,with complex rhythmic patterns evocative of vintage jungle records.DJ Taye makes a significant contribution to this record, collaborating with DJ Manny on 5 productions including the title track. A fellow TEKLIFE squad member, Taye is a highly accomplished producer in his own right, Expect to hear more from him very soon on HYPERDUB Records. Greenlight also features guest appearances from DJ Lucky, Gant-Man and Sucia.

Global Skywatch founder Furious Frank known best after a handful of releases on Vector Works, Ken Oath, Rhythm Works and most significantly on Melbourne's own signature Butter Sessions Records with a split EP alongside DJ Dogg (aka DJ Fettburger) in 2017 turns a new leaf this year with 3 more upcoming label debuts in 2019.

This year we see the Adelaide-turned-Melbourne resident further develop his signature moody, acid-laced soundscapes into a more considered, aged-like transcendence - Welcoming Furious Frank as our latest addition to Paper-Cuts with 5 hand selected works from 2017-2019 produced, recorded and arranged in bedroom studios across Adelaide & Melbourne, complete with full sleeve design from label curator Dylan Batelic, the two's collaboration sees the final product's full physical encompassment for this limited 12" release.

'Ambolley' fuses Highlife, disco and boogie sonics and features the anthemic club cut, 'Highlife'.. One of Gyedu's best!

Audiences will impose meaning as they see fit, relative to their own contexts, and the convergence of our emotional literacy can draw us to one another. In 2018, Ripperton gifted the ESP Institute with Sight Seeing, and we became tourists joining the artist's departure from the comforts of his known creative narratives, however, with his tender monument of devotion, Contrails, we now find ourselves blissfully lost in his code. These expansive 73 minutes are punctuated midway by a poignant solitary confession—
“I’m afraid of what I might find, but I’m even more afraid of not facing this fear. I love you. I love you more than my life.”—in accordance with the fundamentals of Minimalism, the vast negative space bookending these words undoubtedly amplifies their significance. “I’m afraid of what I might find…” Communication comes easy for some artists; the tools are obvious, logical and tangible, the dialogue is palatable and their art is often inoffensive. For others, there may be conflict, trauma or fear that result in pragmatic challenges—the tools feel foreign, deep complexities give way to creative paralysis, and communication struggles to find its form and emerge—the art becomes as much a therapeutic confessional as is a formal exercise.
“…But I’m even more afraid of not facing this fear…” Within the residue of the artist’s emotional labor, full of nuance, reservation and vulnerability, is potent code that can neither be taught nor learned, an elusive unknown whose shadows some spend a lifetime chasing, trying in vain to articulate or translate, often at their own peril.
“…I love you. I love you more than my life.” It’s this code that inexplicably tethers the soul to art—music being perhaps the most magnetic attractor of all—capable of true love upon first encounter. The blood flows like rapids, the hairs on the back of the neck stand erect, the heart surrenders absolutely to a romantic chemistry and a mutual bond is forged, a love to defend with vigor. We own the music and the music owns us. We are enamored, without words, simply head-over-heels.