Beats Vinyl New Releases - News

Italian club culture pioneer Beppe Loda, has played more parties and mixed more genres than Jesus (according to Vice Magazine) and his contribution to dance music cannot be underestimated (thanks DJ Harvey). He refined his unique sound and skills, during his long residency at the mythical Typhoon club in Italy from 1980-1987, hypnotising thousands of dancers every week and recording some of the greatest mixtapes ever made (thanks Vice Magazine again!).

New Berlin Based label Protofuture, with its “Typhoon Tapes” series, decided to bring back to life, some of this these mixtapes. probably Focussing on the lesser-known and not non on Youtube'd (yet) between tapes from more than 200 available that were recorded, with the goal being to expose showcase them as, what we consider to be, an important reference heritage, for the present and the future generations of deejays, diggers and music lovers.

“The Experimental Music Program 01/94 was recorded around may '94 at the Sound Music Room club in the north of Italy. Which was the club opened by the same owner of Typhoon, after the that legendary club closed in 1987. It is a very little-known or heard tape, a mix of space rock, trip-hop, break beats and trance, that didn’t see the light, except for less then 100 copies dealt passed between a small circle of clubbers in the north of Italy at the time.”

**We have dug the original covers from 1994 and all the original stamps from the Typhoon era, also a good dose splash of leftover ink, that has been used to stamp all the tapes, from the 80’s till until this release. **So that means that it comes with the original cassette cover from 1994, hand-stamped using the original stamp and the ink from the Typhoon era.......authentic!

Octa Push is a portuguese duo formed by brothers Leo Leoleo and Mushug that fuses lusophone music (Angola, Bissau, Brazil, Cape Verde, Mozambique, Portugal, Sao Tomé) with electronic sounds.

On 17 june, “Língua” will be released as limited edition vinyl on Rebel Up Records for the first time since its original release in 2016 on the band’s Combatentes home label. The vinyl celebrates this hidden gem of an album that has largely stayed under the rader of european and african ears.

“Língua” is the 2nd full length album of Octa Push and features guests such as Tó Trips (Dead Combo), Batida, Cachupa Psicadélica, Cátia Sá (Guta Naki), Maria João Grancha, Ary (Blasted Mechanism), João Gomes (Orelha Negra & Fogo Fogo), Braima Galissa, Alex (Terrakota), AF Diaphra and Gospel Collective among others. The record, almost entirely in the Portuguese language, is a tribute to the Lusophone music that has been made in the last 40 years. Electronic music meets semba, morna, funaná, afrohouse and even brazilian music.

The record opens with the title song Língua, rhythmically inspired by semba, it features the sharp vocals of Cátia Sá, the hypnotic kora of Braima Galissá (who sadly passed away this year) and the guitar of Alex from Terrakota.
In Cueca, Maria João imposes all of her vocal expressiveness on top of an heavy bassline and shows why she's one of the biggest portuguese Jazz references.
In the same heavy bass tone, Trips Makakas introduces the portuguese guitar of Tó Trips from Dead Combo into a dense electronic sound.
Gaia Cósmica has hints of brazilian grooves, features the guitar and deep vocals of cape verdean pop legend Cachupa Psicadélica and also funky keys provided by João Gomes, member of bands like Fogo Fogo, Orelha Negra and cult band Cool Hipnoise.
The rhythm increases in Fogo, in this funaná inspired song, kenyan Isaac Anyanga and Cátia Sá provide the vocal hook while Alex Terrakota shows his amazing guitar skills, newcomer AD2 raps about the cape verdean island of Fogo.
Xilofone Teteté is a xylophone driven electronic track, while Mana is the afrohouse approach by the duo together with kuduro rapper Bruno do Show.
In Barbara the rhythmic energy balances with moments of calm and it's where Cátia Sá's vocals shine the most. It also features Batida, Alex Terrakota and Ary.
LGS-LX has nigerian talents Afrologic and Temi collaborating with rapper AF Diaphra.
The closing track is a heavenly cover of a song by the portuguese icon Zeca Afonso and features the Gospel Collective.

Some 3 years ago, Abyss was responsible for one of Myor Massiv's most popular releases. Now he finally makes his long awaited return to the label for a split 12” with Tommy The Cat.

Both tracks are heavy Amen rollers. On the a-side Abyss goes in for some serious hardcore business with “Journey Of A Crackhead” whereas Cat In The Bag head honcho Tommy The Cat opts for a dirty dubwise approach on the flip.

We all know that when it's a real vibe you can't go wrong. If you add talent and hearth to that you got gunpowder for pure bangers. And that's exactly what we at Hoga Nord Rekord wanted to accomplish with the sixth release of our UK 12inch series. Consequently we contacted Jo Howard from Sunderland in the North East of England.

As a producer and DJ he uses the alias Bird of Paradise. Smoking Weekend is the name of the four track EP. BoP came to prominence via his output on labels such as Jennifer Cardin's Correspondant imprint and New Yorks Throne of Blood. His debut e.p on the former reached number one in the Juno download techno charts in December 2015. As a DJ, he has honed his skills both at his own parties Cubik and Body Talk. As well as being a resident at Man Powers 'Tourist Parties' wich have afforded him the opportunity to play alongside Todd Terje, John Talabot, Daniel Avery and Ivan Smagghe.

Jo is raised on a steady diet of punk/post punk, and learning to play instrumentation from an early age defines why Jo's way of arranging music and his eclectic taste is different to his peers. Something that fits Hoga Nord more than hand in gloves. We prefer to ride it like bareback pirates as you should know by now.

The Smoking Holiday EP opens with Tito. The spooky oblique intro will soon start to roll deep into a dark cadenced haunting and whispering tune that will twist, trance and tribal your mind back to the early 90s mornings. On a loving, yet a bit dark and grimey, dance floor in- or outdoors. Second track Joy-Rides will lug your brains and fizzle your feet with its eclectic format. Ambient mixed up with rhythmic techno and bleep - a good appetizer of Bird of Paradises DJ-sets. B-side chugs on with the title track and ends with a electro tune that sends funky fresh flirtations to Andrew Weatheralls and Keith Tenniswoods project Two Lone Swordsmen. Bird of Paradise: It's authentic, can't go wrong!

Kuiper comes after last year's acclaimed debut album 'Elaenia' and is the second release on his own label Pluto. Check out the video here!:
Speaking about the new release, Shepherd says:

'Since starting a band to realise the music from my LP, it has sparked a deep interest in the band itself, and so Kuiper is the result of playing with Leo, Alex and Susumu. Each time we play it, its completely different. We set the scene with electronics, and some drum machines that form the foundation to allow the unfurling of the rest of the track. The version on this EP - believe it or not - was recorded at 8am!

The other side - 'For Marmish Part II' - is carbon dated by my singing voice. I can't get that high anymore! It was recorded way before ' For Marmish' on the album but the two tracks happened to be written around the same time.

I want to share them because both sides reflect in two tracks where I was right at the start of the Elaenia project, right up to now post-LP release, playing live and going on the road with a band. I hope, like I feel, people will find a common strand in the hypnotic nature of both tracks. '

Zur Zeit der Veröffentlichung seines hochgelobten Albums "Howl" und einer damit verbundenen Tour gegen Ende des Jahres 2015, löste sich der Londoner Elektronik-Songwriter Ryan Lee West aka Rival Consoles gerade aus einer 13-jährigen Beziehung.

Also setzte er sich hin und begann über die Wintermonate hinweg, neue Musik zu schreiben. Das Ergebnis dieser Unternehmung bildet das in arbeitsreichen Nächten geborene 34-minütige Mini-Album "Night Melody". Dessen sechs Titel warten mit mysteriösen Sounds auf. Nicht ohne Grund, wie der Künstler selbst erläutert: "Ich fand mich wieder in einer stillen Wohnung, während die Tage früh dunkel wurden. Noch nie zuvor in meinem Leben wurde ich so sehr von einem Mangel an Licht beeinflusst. Ich erinnere mich nur, dass es eigentlich immer nur Nacht war. Entweder machte ich Musik und traf Freunde auf ein paar Drinks, oder ich ging zu Partys und tanzte bis in die frühen Morgenstunden."

So entstand Wests bisher persönlichstes Werk. Fast jede Synthie-Spur nahm er intuitiv auf, ohne Hang zur Perfektion, aber mit viel Intention und Ausdruck. "Ich bin nicht interessiert daran, etwas Trauriges oder Glückliches zu machen", so West. "Ich will Musik, die bittersüß und komplex ist - so wie das Leben."

Out of stock for aeons, includes the legendary Four Tet Remix. Limited to 600 units.

“Built By Humanoid” is Humanoid's second album, a mere 30 years after the debut, though Brian Dougans claims the first album wasn't really him anyway.
Humanoid's classic acid house single, ‘Stakker Humanoid’, highly regarded as one of the key tracks from the era (Richard James (Aphex Twin) sights the Stakker project as a major influence), enjoyed massive success in 1988. Reaching No.1 for 5 weeks in the UK dance charts, performances on Top of the Pops, a John Peel session for the BBC and European tours eventually led to an album deal.
Whilst all this was happening, Brian Dougans (one half of electronic legends Future Sound of London) claims he was returning to his squat in Kings Cross with no electricity or water. He not only became disillusioned with the business, but also became increasingly ill from the conditions he was living in. Around 6 tracks into the album, he left London and record label, Streetsounds, returning to Manchester to recover and regroup his thoughts. However, Steetsounds pressed ahead with the album and it was finished in Brian’s absence with guest performers.
Brian left Humanoid behind and went on to create FSOL with Gaz Cobain becoming leading lights in the burgeoning ambient scene, scoring a top 10 album "Lifeforms" on Virgin Records.
In 2003 Rephlex (Aphex Twin’s label) released a posthumous album of 1988 out takes compiled by Brian.
Recently Humanoid tracks have been popping up on modern compilation albums (Touched Music / Gasman, etc) signalling a possible return.
“Built by Humanoid” is a brand new nine track album of future acid cuts, breaks and electronics, a lot of which is credited to 2 synthesisers co-designed by Brian Dougans and English Electronics company Digitana. It is this innovation that has helped usher Humanoid back into the limelight and consequently the album has a rather new and unique sound and style.
The track ‘Polymath’ is created using a possibility / probability theory that results in a track which at no point repeats itself - 303 tinged acidic bubbles. Meanwhile ‘Traktion’ is a break beat, pulse laden, bass heavy monster. ‘Fu*k It’ is the future sound of 303. Fast, frantic and beat driven. Whilst ‘Post Humans’ combines thumping 909 and 303 into an acid hallucination.

J.Wiltshire joins the Black Orpheus stable with five tracks of heat for the dance. On side A, 'Semuta' and 'Lemon Squash' are an acid-soaked take on classic electro and sound like a summer beach party organised by Snake Plissken. The theme of road-ready funk continues with the rolling, squelching bass of 'Hundred'. On the reverse, 'In Your Belly' and 'Cymek' take the release into murkier territory. Two cuts of razor sharp retro futurism, these weapons of choice would turn heads at any post apocalyptic rave or dystopian underground gathering. Eye patches at the ready!

Ry X Has Announced The Release Of His Much-anticipated New Album, Unfurl, Available 15th February 2019 Via Infectious And Is Available To Pre-order Here. Ry Has Shared A First Track Entitled 'untold', Which Is Streaming Here, And Announced News Of An Extensive International Tour To Follow The Release, Including 4 X Uk Shows In February. Ahead Of Those Dates Ry Will Be Visiting London This Friday (12th) For A Headline Barbican Performance Backed By The London Contemporary Orchestra Which Has Been Sold Out For Months. Upcoming Tour Info Below.

Six composers compiled on one EP. Everyone with its own approach stepping into the long history of New Wave, EBM and Synth-Pop from Switzerland. For the first release of the newborn label ‘Subject To Restriction Discs’ focus on analogue production with all its variations.

It all began when gearheads from all over Switzerland came together to indulge their love for analogue synthesizers and drum machines. This led to a project at which end a tape compilation resulted. Only 70 tapes were made and almost got forgotten. Now is the time some of these tracks find their way to a new medium and a bigger audience.

Credited as “Music For Relaxation”, Cumulus is the perfect music to encourage subconsciouschange, decrease blood pressure or pet the cat on the couch to.

Recorded in a Toronto apartment in 1985, Cumulus is an ultra-rare private-press ambient cassette release which was circulated amongst a small group of friends within the avant-garde theatre scene at the time. Brent Snyder’s interest and discovery of Frippertropics and Brian Eno inspired him to set up a 4 track tape recorder in the corner of his dining room to create the two slowevolving guitar loop-based pieces that make up Cumulus. The a side, “Excursion”, drifts between subtle dusty peaks and valleys in an almost Basinski-esque way, while the subtle hums and textures of “Cumulus” gently levitates above the earth and settle into sublime tones similar to Steve Roach “Structures From Silence” and Brian Eno “Apollo: Atmospheres and Soundtracks..

In 2017, Lagartijeando (Mati Zundel), released his second full length album 'El Gran Poder,' via Wonderwheel and subsequently hypnotized the masses with the way he laced the traditional Charango playing that he picked up traveling the Andes with the pulsing, digital-cumbia electronica that'd been popularized in the region by the likes of Chancha Via Circuito, Nicola Cruz, and beyond. El Gran Poder plucked Zundel from his small town of Dolores in Argentina and catapulted his sound onto a global stage. He was revered by the likes of The Fader and Bandcamp, who referred to him as an electro-folk alchemist - and that he is.

On June 7, Lagartijeando casts a new spell with Jallalla, an ambitious new full length being released on Wonderwheel Recordings. Jallalla is a word used in Bolivia to celebrate something- and it's a word that strengthens in meaning when more people say it together. Jallalla is an entire life in an album - beginning with what would be the sonic representation of pulling back reeds to discover a new path with the song Villazon-Potosi and its sparse electronic percussion gradually filled in with curiosity-giving winds. Following is joyful charango riff that becomes the base for the track La Frontera, which features the sweet, wispy voice of Minük, the Colombian artist Alejandra Ortiz, known as half of the duo Lulacruza. As the album progresses, it becomes more experimental with electronic elements, sneaking in bits of deep house and dub. The fourth track is called Caña, and is a collaboration with none other than Chancha Via Circuito. It's minimal and haunting, playing with repetitive bass, chimes, and what sounds like owl sounds. Zundel's beloved charango sneaks back in via the next track, Adios Potosi, continuing the trek with a sweet melodic mid-album break. On the track A Todo Pai, one that celebrates Latin American identity (a todo pai, un solo maiz, repeats the song), Zundel collaborates with Javier Arce - lead singer of the Costa Rican indie-funk band Cocofunka, whose peculiar and infectious voice adds new layers onto the album. The last few songs are a mix of meditative electronic tracks and life-giving dance-floor ready numbers, all lending to Jallalla being a celebration of life and the various adventures it contains.

Jallalla is out on June 7 via Wonderwheel Recordings.

Last year, after his mind-warping gig at Cafe OTO, we presented the new world of Yximalloo, and his label Sakura Wrechords, from Tokyo.

Yximalloo's (Naofumi Ishimaru) long and varied career in music covers a period as manager of Yellow Magic Orchestra back in the day, when he also started producing his own music on cassette. Later branching out into CDrs, his discography is voluminous. Sometimes collaborating with Momus, Jad Fair (Half Japanese), Sympathy Nervous (Vanity Records) and others, he has quietly put out over 70 releases, all with his undefinable catalogue of styles.

An unknown track of his was released in 2013 by Kompakt, as "Wanted". An unknown artist - they had lost the details of the CD he'd sent them - they were compelled to release it anyway. It was the only vinyl release of Yximalloo's until "Best Of". Now he returns with a second volume.

Culled from just a few points in his prolific career, this release has hints of early Residents, Hosono's jerky formative sample projects and deep- in-the-woods Texas Chainsaw Massacre vocals - just a few more glimpses of Yximalloo's dimensions. Shipping in two weeks.

In her varied career that would combine art gallery installations, major film soundtrackings and commissions for Atari, Suzanne Ciani’s earliest experiments remain some of her most challenging, beguiling and timeless... Flowers Of Evil ticks all the above boxes and flicks switches that would power-up a new uncharted universe of her own musical modernité. Finders Keepers present the first-ever release of these vital archive recordings.

As a genuine vanguard of electronic music composition at the forefront of the modular synthesiser revolution in the late 1960s, Suzanne Ciani’s forward-thinking approach to new music would rarely look to the past for inspiration, which makes this unheard composition from 1969 a rare exception to the collective futurist vision of Ciani and synthesiser designer Don Buchla. In choosing to adapt the controversial prose of French poet Charles Baudelaire, Suzanne would join the ranks of ongoing generations of pioneering musicians like Olivier Messiaen, Karlheinz Stockhausen, Serge Gainsbourg, Etron Fou Leloublan, Celtic Frost and Marc Almond (not forgetting Star Trek’s William Shatner!), all equally inspired by the 19th century writer’s works of “modernité” (modernity), a self-coined term dedicated to capturing the fleeting, ephemeral experience of life in an urban metropolis, best exemplified in his symbolic, erotic and macabre ode to Parisian industrialisation, Les Fleurs du mal (Flowers Of Evil).

In her varied career that would combine art gallery installations, major film soundtrackings and commissions for Atari, Suzanne Ciani’s earliest experiments remain some of her most challenging, beguiling and timeless... Flowers Of Evil ticks all the above boxes and flicks switches that would power-up a new uncharted universe of her own musical modernité. For the many enthusiasts that have already drawn the parallels between Baudelaire’s writings and experimental/electronic music (a relationship rivalled only by the likes of J. G. Ballard and Aldous
Huxley) some might instantly recognise an unconscious sistership between this recording and another 1969 electronic adaptation of Flowers Of Evil by celebrated female electronic composer Ruth White. An interesting distinction of White’s excellent version of Flowers Of Evil (released via Limelight records, home to the likes of Fifty Foot Hose and Paul Bley) is that its dark tone generation and vocal manipulation was created with a Moog synthesiser, the commercially triumphant
rival to Suzanne and Don’s Buchla Systems (Buchla and Moog’s historic, simultaneous, neck-and-neck synth developments are well documented.) The fact that Ciani’s version was never intended for commercial release (not unlike her 1975 Buchla concerts, which could easily have taken Morton Subotnick’s Bull by the horns!) is also poetically reflective of the nature of Ciani and Buchla’s alternative perspective. The choice to present this extract from Flowers Of Evil in its intended French language further distances Ciani’s faithful reaction from some of its better-known variations. Having attempted to voice the poem herself, the multilingual Italian-American composer’s French accent did not meet her own standards, resulting in the request for a fellow unnamed French student who lived on campus at Mills College in Oakland to accurately verbalise the section of Baudelaire’s collection entitled Élévation.

‘Tribes 1.1’ by Weird Dust is the third release on Brussels-based label and vinyl purveyor Crevette Records. The six tracks reflect an eclectic taste in hardware, melding organic and heavily processed sounds into a sort of musical retro-futurism. The percussion distinguishes itself, simultaneously free-form and mathematical, and certain to make you dance. Up close, ‘Tribes’ gestures at something alien, like going back to the jungle, but on another planet. This is what the future was like; notice the weird dust all around you.

Set to be one of the biggest tunes of 2019, Vanta Black is a sonic statement like no other.

Headed up by the inimitable instrumental, the release also features the equally sought after Inja vocal version as a digital exclusive and a VIP of Low Blow, the original being the track that started Benny L's Metalheadz journey almost 2 years ago.

Low Distance is Deaf Center´s third full-length studio album and perhaps the most focused effort by the Norwegian duo to date. After their last record Owl Splinters (2011) was quite an eclectic endeavor, Erik K Skodvin & Otto A Totland draw their sound back into something more quiet and minimal.

The record starts with a piece of sweeping analougue electronics. It´s a spacious, yet dynamic opener that leads directly into the static tones and piano motivs of Entity Voice, which balances a new sense of abstractation with the classic Deaf Center sound. It´s warm and close while sounding like it´s set in the outer horizon. Overall Low Distance feels both alien and familiar with its atonal synths, close pianos and drowned out noises.

After meeting in studio for the first time since 2011, the recordings came out of a 3 day session in 2017. It was then mixed at both EMS Stockholm and at Erik´s home studio over a longer period to create a blend of deeply layered as well as stripped down pieces. Both Erik & Otto have been active individually since their last meeting as Deaf Center: Otto released 2 solo piano albums, while Erik has furthered his descent into musical abstractation both under his own name and as Svarte Greiner. It´s long overdue to hear them connect their personalities into something new. Low Distance is a welcome return replete with beauty, mystery and uncertainty.

Noise To Meet You's second release offers a mini-LP that drives Electro to its most elegant side. Six tracks filled with dance impulse and emotional charge made by the Swedish artist, EBE-2.

Berlin based trio Keller Crackers collective likes to shape haunting esoteric sounds, in which self-built instruments dance with ritualistic synthesised rhythms, field recordings, psychoacoustic drones and poetical spoken silhouettes.

After a self-released MC and a mesmerising tune called “Anem” out in February 2019 on the custom-made Kashual Plastik 007 double-vinyl compilation, now they give birth to their own debut record “KC”, a four track EP resulting from various improvisational studio sessions, a bag full of spontaneous visionary DIY sound fashion that melts meandering serialism, foggy ‘Chris & Cosey’-ness, exoticism and freely expressed emotions. Some pieces are given time to evolve, being dragged through long arrangements and slow transitions, while others are playful and short. To close up the magic circle, the release includes a tripping Tolouse Low Trax signature remix.

The opening tune “Specialised” swings on a trance-like hypnotic bass line, while a self-made kalimba played through a tape delay and overtones from a DIY circuit bended device inject dynamics and colour to the composition. Out of the sonic depth, the spoken words of Sylvana Wickman emerge enchanting and unreal, naming a series of technical terms, assembling a deep notion on the specialised society we live in.

“Cow Tongue” follows, a fleeting composition of crackling electronic clicks jumping off a micro-modular device. They got overdubbed again by Sylvana’s voice, delightfully reciting phrases from a recipe of regional delicacies.

The A side of KC`s first strike finishes with a spaced-out synth bass and the lo-fi beats of a Yamaha RX15 drum machine. They are the gripping foundation of “Aithouses Anamonis“, which means “Waiting Rooms”. It describes the scene of a man sitting in a waiting room observing the consumerist behaviour by the folks around him.

The B-side opens with a Tolouse Low Trax remix of “Specialised”, elevating the original with the bass line of “Aithouses Anamonis“, while melting the all into a dark nebulous Tolouse Low Trax signature stripped down funk for endless nights in neon lights.

For their final track “Colours”, Keller Crackers invited a steady free member of their live shows to record with them: free jazz musician Robert Würz. He tuned his flute enthralling over a suspenseful bass line formed in a whirlwind of synth-sounds. The whole frenzy gets divine through sliding chords that rise from a self-built guitar.

A musical bouquet for open spirits, that value charming minimal wave zones, undefinable post-industrial psychedelics and hallucinogenic poetry reflections on the current state of our mechanical times.

Pale Bloom finds Sarah Davachi coming full circle. After abandoning the piano studies of her youth for a series of albums utilizing everything from pipe and reed organs to analog synthesizers, this prolific Los Angeles-based composer returns to her first instrument for a radiant work of quiet minimalism and poetic rumination.

Recorded at Berkeley, California's famed Fantasy Studios, Pale Bloom is comprised of two delicately-arranged sides. The first – a three-part suite where Davachi's piano acts as conjurer, beckoning Hammond organ and stirring countertenor into a patiently unfolding congress – recalls Eduard Artemiev's majestic soundtrack for Andrei Tarkovsky's Solaris. "Perfumes I-III" employs the harmonically rich music of Bach as a springboard for abstract, solemn pieces that sound as haunted as they are dreamlike.

While the first half of Pale Bloom showcases Davachi's latent Romanticism, the sidelong "If It Pleased Me To Appear To You Wrapped In This Drapery" reveals the Mills College graduate's affinity for the work of avant-garde composers La Monte Young and Eliane Radigue. Softly vibrating strings rise and fall like complementary exhalations of breath. As the fluctuating pitches create overtones that pitter and pulse, the piece slowly and subtly evolves – suggesting a well-tempered stillness, yet without stasis.

The Music from Matthew Barney's Drawing Restraint 9 is a soundtrack created by Björk in collaboration with her then-partner Matthew Barney for his film of the same title.

For this project Björk traveled to Japan to study ancient Japanese music. Several tracks are made with the sound of the shō, a Japanese instrument which contains 16 various reeds; the shō performances are from Mayumi Miyata, one of the world's greatest shō players.

She also appears in the film, playing her instrument. The song "Holographic Entrypoint" features a Noh score and vocal performance by Shiro Nomura. Björk brought "Nameless" back from her 2003 tour, and, with the help of Leila Arab, looped and edited it to create the track "Storm".

Alternative folk singer Will Oldham (also known as Bonnie 'Prince' Billy) is featured on the first track, "Gratitude", singing a letter from a Japanese fisherman to General Douglas MacArthur set to a melody by Matthew Barney. Björk's vocals feature only on the tracks "Bath", "Storm", and "Cetacea". "Gratitude", "Shimenawa" and "Cetacea" feature harp player Zeena Parkins, who previously collaborated with Björk on her 2001 album Vespertine. "Hunter Vessel" was later re-used on her album Volta for the tracks "Vertebræ by Vertebræ" and "Declare Independence".

Modeselektor veröffentlichen eine dreiteilige, limitierte Picture-Disc-12"-Serie mit den Highlight-Tracks ihres Albums "Who Else" samt Vinyl-exklusiven B-Seiten. Die Single "Wealth" mit der Londoner Grime-Künstlerin Flohio erscheint samt Instrumental und Accapella-Version (Vinyl-only). "Who", die knusprige Kollabo mit dem estnischen Rapper Tommy Cash, wird mit Modeselektors atmosphärischem "Who Else" gespiegelt. Und der Dancefloor-Hammer "I Am Your God" mit Otto von Schirach ist gekoppelt mit dem nicht minder effektiven "Bronko". Alle Picture Discs erscheinen in vollwertig bedruckten Innenhüllen und Außencovern.

Man Band returns with its second release of 2019. Newcomer Tibia makes his first contribution to the label with ‘Polypola’, an outstanding 5 track EP of otherworldly broken techno, rolling downtempo rhythms and electronica hits for spiritual awakening.

Grattis! Thomas Flachsbinder 40år EP, otto002.

The title of the EP is "Happy birthday! Thomas Flachsbinder 40 years" and it pretty much sum´s up the whole reason for this EP. Our dear friend Thomas have been making lovely music for some 20 years now. And this EP is an selection of different aliases his created or been involved with. The genres goes from 50-60´s surf, rockabilly, rock, german house, ska, jazz, amen breakbeat organ pop to bossa nova. So hopefully you´ll find something that you´ll like.

✖ INCL 7 STICKERS, 2 BUTTONS + 2 FOLDOUT POSTERS
✖ SPECIAL „GLOW IN THE DARK“ PRINTS
✖ LIMITED TO 300 RECORDS WORLDWIDE!
✖ COVERART by SCOTT ROBINSON 3D (UK)
✖ MASTERING by STAZMA THE JUNGLECHRIST (F)
✖ DESIGN + PRINTINGJOBS done by e_wann (BE)

Definitive Hospital Productions artist Jim Mroz aka Lussuria follows duties on Prurient’s ‘Rainbow
Mirror’ LP and and appearance on Vatican Shadow’s ‘Berghain 09’ mix/compilation with a new
opus worthy of comparison to his dank ambient classics, ‘American Babylon’ [2012] and ‘Industriale
Illuminato’ [2014]


In the foreboding ‘Three Knocks’ Lussuria limns an unconscious, near-death experience based on a
tale told by his mother, who was admitted to ER after an allergic reaction escalated into something
inexplicable. She was put in a medically induced coma and administered a breathing tube. When
under the effect of heavy sedatives, she spoke of a visit by angels who warned of an impending
disaster. She eventually came around, and recounted that her illness was preceded by three knocks
at her office door, slow and heavy - proposing that each knock was a mockery of the Holy Trinity;
one knock for each crucifixion - but when she answered nobody was there. This omen, and its
confirmatory hallucination form the basis of Lussuria’s utterly absorbing new album.
Using a Hawaiian flute made from a human femur, and an Iron Lung for percussion (don’t ask how
he accessed it), together with operatic tape cut-ups and field recording made on the shores of
Long Island’s empty asylums, Lussuria stages his mother’s vision in four parts of lugubrious, black
metal ambient gloom. The atmosphere is just frighteningly tangible, revealing a sense of depth
perception and stone cold clamminess that brings its spirit vividly within touching distance, from
the over-the-shoulder vocals and cracked window pane howl of ‘Fentanyl Chaser’, to the hollow
clank of oil drums and spent ammo casings in ‘Three Knocks’, and through to the frankly terrifying
descent thru choral loops into a bony flute solo with ‘Confused And Ill By Shadows’.
This would all just be another urban myth were it not for the exquisite detail and dramaturgy of
Lussuria’s production and arrangement, which typically imparts its feeling in no uncertain terms,
most acutely hyperstizing (making a superstition real) a state of psychological dread and panic
induced by the occult imagination.
• Supremely dank, occult dark ambient and submerged black metal
atmospheres
• Follow-up to scene-defining classics ‘Ghost Entanglement’ and
‘American Babylon’
• RIYL Cold Meat Industry, It, Prurient, Deathprod
• Mixed and mastered by Josh Eustis. Vinyl cut at D&M, Berlin

New compilation Untitled collects seven collaborations inspired by the life and work of Jean-Michel Basquiat, pairing emerging and established musicians to create a genre-defying compilation of new music.

* Shabaka Hutchings, Kojey Radical, Wu-Lu, Nubya Garcia, Lex Amor, Ego Ella May, LayFullstop, Moroka, AJ Kwame, Lord Tusk, Roxanne Tataei, Kz, Mala, Joe Armon-Jones, Confucius MC, Kwake Bass, Maxwell Owin & Coby Sey.
* 12″ gatefold sleeve printed with UV Spot gloss
* 1 x 180g heavyweight black vinyl
* Artwork by Fabrice Bourgelle & Anja Ngozi
* Mastered by Finyl Tweek, London.
* Ltd Ed. of 1500
* Vinyl and digital release date: 31/05/2019

A1. Wu-Lu, Lex Amor, Ego Ella May – ‘Legend’
A2. LayFullstop, Moroka, AJ Kwame – ‘Broadcast By Chocolate’
A3. Lord Tusk ft. Roxanne Tataei – ‘Know Ways’
B1. Kojey Radical, Shabaka Hutchings – ‘No Gangster’ (Produced by Kz)
B2. Mala, Joe Armon-Jones, Nubya Garcia – ‘Scratch & Erase’
B3. =CoN+KwAkE= – ‘Same Ol Samo’
B4. Maxwell Owin & Coby Sey – ‘Response to Michel’

Released by Lonely Table, Anja Ngozi and The Vinyl Factory, with support from the Arts Council England, the album spans genres and eras, touching on jazz, experimental electronic, post-punk, dub and ambient influences, painting a diverse picture of the UK’s expanding underground sound.

Drawing on Barbican’s major Basquiat retrospective in 2017, the project also explores themes around identity, representation and social inequality.

As such Untitled also encompasses a youth project with Ruff Sqwad Foundation, in which seven BME young people aged 12-18 were given the opportunity to visit the Tate Modern and create music in response to what they saw.

As LayFullstop says: “We’re celebrating a legend who fought with his brushes and spoke with his work. The need for his work is still as current as ever. The issues we’re attacking are still as current as ever. So it’s only logical that Basquiat is and will continue to be as current as ever.”

Bastard Jazz is proud to present the new EP from Vancouver's AstroLogical, also known as one half of production duo Potatohead People. With a long list of collaborations outside of the group ranging from Pomo, Phife Dogg, Illa J and Chin Injeti - Astro's new EP "Private World" resides somewhere in between jazz, soul, ambient and future electronic vibes with it's lush keys, chunky breaks, and deep musicality.

Nate Drobner aka. AstroLogical is a multi-instrumentalist producer/composer based in Vancouver, B.C. Canada.
After releasing a number of solo instrumental hip-hop projects through the net label Jellyfish Recordings in the early 2010's under the AstroLogical alias, he had began focusing his energy on the producer duo Potatohead People; a collaborative project with his old friend Nick Wisdom, eventually getting noticed signed by Brooklyn-based record label Bastard Jazz in 2012 (with the help of Nightmares On Wax). Their 2018 full-length sophomore album 'Nick & Astro's Guide To The Galaxy' was released to great acclaim and led them to be invited to Jazzy Jeff's annual Playlist Retreat alongside such luminaries as Lord Finnese, Young Guru, and Pharaohe Monch.

Following last year's "Şeb-i Yelda" EP under the R.A.N. moniker, HÜMA UTKU delivers her debut full-length album under her own name "Gnosis": a blend of abstract electronics and ritualistic throbbing beats with field recordings and ambience, available as LP and DL.

With "Şeb-i Yelda" (2018) HÜMA UTKU introduced her musical style to a broader audience - storytelling through elements of industrial, techno and abstract electronics, blending in field recordings and traditional instruments from the middle east. A sonic journey that now continues on "Gnosis" that owns the signature sounds of the Istanbul born / Berlin based electronic artist and pushes them further. The Greek word "Gnosis" meaning "knowledge reached through intuition and individual experience" has been used throughout history by various schools of esotericism and thought, to signify gaining insight on workings of the universe. Coherently the album follows the hermit-like, truth-seeking traveller on a path through various times and geographies, through different forms of human experience. Merging field recordings that UTKU did in Greece, Egypt and Turkey with ambient soundscapes, abstract electronics and ritualistic throbbing beats, "Gnosis" is an intense sonic travelogue where the storyline exceeds the borders any specific musical genre.



Credits:
All tracks written and produced by Hüma Utku.
Tracks 2, 3 and 5 include samples of field recordings done by Hüma Utku.
Mastered by Rashad Becker at D&M, Berlin

9 years on from his Tectonic album, J Sparrow drops his next LP on MEDi with a carefully curated body of work showcasing the breadth of his production skill.


"#000000365 / Dark365 comes as a surprise, but one that feels the product of careful craft"Tomas Fraser - Mixmag Album of the month

Digital: 12 x tracksVinyl: 2 x 12" (6 x tracks)

31.05.2019

ABOUT//BLANK is a collage of collages, an EP pasted together from tracks that are built of parts of various tracks, recordings, sketches, hooks, grooves and loops that Persian Empire has been working on in the past few years. It's a warm piece of fragmented soul music and a project that's far more vocal than any of Sam Khatam's previous productions.

The vocals, though, float in a cloud of haze. Recorded lo-fi, on the fly, impro style. They're intentionally imprecise, leaving blank spots and holes for listeners to fill in. Thus the play of these ambiguous lyrical fragments becomes not just open to but in fact invokes obligatory interpretation. It's the listener who with active interventions solves the mumbles and connects the gaps.

The EP draws from classic funk samples and hiphop production techniques and nods to the end of 90s cut 'n' paste of vanguard styles Mo' Wax, Warp and Chocolate Industries championed so well. With all this retro, throwback swing Persian Empire delivers soft soul that doesn't fit anywhere but in the present.


Persian Empire has been immensely influenced by UK dance styles, from 2step to bass yet his music usually can't happen without the usual intruders - from jazz to experimental electronics and hiphop. With special attention to rhythmical details Sam's put out music for labels likeCosmonostro and Record Record and since 2015 he runs his own Prrrrrrr Records, with a focus on young promising blood.

His live acts are not to be missed.

In mid 2018 Denham Audio and & Borai put out a self released cassette tape named Club Glow Vol 1 full of early 90s hardcore and breakbeat madness, it was well received and tracks started showing up in DJ sets and radio shows. The most popular and widely played was "Make Me" First championed by DJs Peach and Sienfield, the track took on life of its own and has been named checked and ID'd in groups many times by people desperate to know what it was called and where they could get it.

We have remastered the track alongside a new production by the duo that also has that 90s hands-in-the-air-singalong feel, and are able to offer a heavy weight 12in complete with artwork by Mani Festo for everyone who has been asking if it was ever going to be released on wax.

Moonshoe Records has bowled over first listeners by presenting this new side of their sphere - Air Space Ark’s debut, “All Rivers Lead” charts the course of divergent streams of contemporary ambient music, downtempo rhythms, and electroacoustic experimentation, arriving at a calming confluence of these sources. Across the 6 songs on these two sides, they evoke a calming and contemplative headspace

333 is an exquisite study in balance - the intermingling of bird song water sounds that could equally be field recordings or synthesized foley - the ambiguity adding a delightful trompe l'oreille effect - and crystalline keys ; these airy sounds weighted by washes of subbass.

BLANK PAGE is almost like a version of the previous track, retaining the nimble birdsongs and heavy sub, but foregrounding a lolling, stumbling hip-hop beat and placing more emphasis on the effects wizardry as abstract sounds careen across the track in wipes and wisps, before stripping down to a beautiful coda of birdsong, piano plinks and a textured backdrop.

The celestial keys, flute-like thrums and gentle chimes of WORDS BETWEEN SELF evoke the golden age of spiritual jazz, but the hazy ambiance and shuffling beats transmute the other elements around them into something more introspective and personal than jubilant praise. Lyrics aside, the subtle funk coupled with the pensive, meditative air channels the spirit of Stanley Cowell’s classic TRAVELLIN’ MAN.

LOFT IN 7 Is the most “out” moment here. It has echoes, literally, of jazz. Like decaying tape reels disintegrating in real time, we feel the tape buckling and warping under the weight of time as the sounds of a synthetic band warp and shift against electronic impulses and glitches, eventually leaving just a lingering, ghostly imprint. .

DUST SONG veers the closest towards a straightforward instrumental hip hop cut - a submerged sounding breakbeat coupled with a tender piano melody - but is buoyed by drifting pads and a dense, hallucinatory bed of effects.

CONCRETE closes proceedings. Charged with a crepuscular energy, it’s all-together as mercurial and magical as the transition from day to night. Different elements swirl and coalesce, honing in on dense, textural moments across a horizontal drift. The end effect is hypnotic yet captivating, so much so that when the track eventually blooms into silence at the end you’re struck by the brevity of the whole experience. Thankfully you can listen to it again!

Redsonja Records is again back with a special project on a special format introducing the new NCFM series. Focused on The Zenobit3's particular way of configuring his Electro universe, the series consists of three exclusive instalments presented on coloured 10” vinyl. Each release is limited to 100 copies and comes with an exclusive cover print picture designed by S.Halley, who has managed to illustrate some of the extraordinary fictional worlds that surrounds the artist through a mysterious mini-series.

During a deep cosmic music journey through outer space: "Feeling the need to search for extra-terrestrial life I found myself, and now my mission is to reach the soul of humans through music beyond the stars". The Zenobit3 found a renewed sense of purpose, a belief in himself that welcomes new perspectives. The original roots and pure values of electronic music also found their place in the infinite space, as they are the starting point of the adventure as well as its final destination. His track named Madrid My Beat, released on vinyl in 2017 on Drivecom and signed as Zenobite, was the reason why Dj Picht became The Zenobit3. The Electro sound he carried in his blood from long time ago took hold of him and Madrid My Beat has become an anthem of this captivating music style. Now we are proud to present our 18th release, The Zenobit3's first solo release on Redsonja Records.

Lights from the Past (NCFM 01) is the name of the first EP on the NCFM series signed by The Zenobit3. This release is strictly limited to 100 copies and comes nicely presented on red 10" vinyl, containing two powerful electro tracks.

NCFM (Side A) is a strong statement about defending music values and respecting a life style that focuses on a deep and strong feeling for music. Using LFOs, he creates aliens sounds, 100% Zenobit3 style. Melodic structures lead by delay lines and arpeggios that will hypnotize you.

Lights of the past (Side B) refers to current trends in ancestral wisdom and inner knowledge loss, as well as the lack of understanding of how Laws of The Universe operate. This hypnotic track comes with a solid structure, a killer bass line, ascending melodies and groovy soundscapes that invite us to dance... The result is a stunning track.

If you managed to grab one of the limited 12″ with ‘Falling’ & ‘Light Show’ plus remixes – then you know what you’re in for here, and the chances of your captivation are already high…
If not, then here’s your chance for the full dive into E B U’s one-in-a-million sound world.
It’s a very special record, one of the most uniquely alluring albums we’ve heard in some time – and we’re sure this is only the beginning of her journey, so do yourself a favour and step inside now.

Throughout Hinge, Unnatural sounds and pitches exhale in melodic chants, ominous basslines resound and eerie loops fixate in this macabre ensemble. You are captive in her world. Moments of haunting clarity keep you wondering where she will take you next whilst strange narratives unfold. In her music and performances, her chameleonic visual display is charged with emotion, keeping you suspended in a state of flux as she orbits through the spectrum. ‘Stimulated by human behaviour and existence, she questions the very nature of being and invites the audience to explore through her cathartic performance.’

Her sound captures elements of the radiophonic qualities by electronic pioneers such as Delia Derbyshire, through to unlikely melody and harmony akin to that of Ryuichi Sakamoto or Laurie Anderson.

It’s an exploration of strange places with a weird & wonderful sphere, sonically capturing the colourful intensity of Alejandro Jodorowsky’s Holy Mountain, or perhaps sounding like a much more out-there, much more convincingly extra-terrestrial Space lady… These are just vague comparisons though… Essentially, her sound is a total world of it’s own.

Hinge, E B U’s debut album, is an outer body experience that will conjure up memories you never had before, images you can’t quite place but somehow relate to, and a sense of sweet disorientation as you slip into a whirlpool of shapeshifting melody, harmony and frequency.