Beats Vinyl New Releases - News

The 4th disc on Young Echo Records comes locked & loaded with Jabu re-works from the extended family: SKRS & Jay Glass Dubs at the controls!

Pressed to 12″ with two remixed cuts from Jabu’s Sleep Heavy LP on Blackest Ever Black, YE004 follows the murky lyrical showcase from Manonmars alongside O$VMV$M, and reaches out to two producers who have been operating with similar style & fashion to the YE family over the years – forward thinking, eyes-closed, ears-open individualism is the order of the day, and these two remixes showcase this unique application of sound in loose dub structures perfectly.

Each approach the originals with their own take on skewed & stretched dubwise styles – letting the vocals swerve & sway over hypnotic rhythms, off-kilter atmospherics and big belly bassline… Like the best of dub, there’s an instant infectiousness to the rhythm, and a new-found focus on the original elements of the song – however, it’s too easy to apply the dub-tag to this – SKRS & Jay Glass Dubs are doing their own thing – listen and hear for yourself.

[a] A1. Fool If (Jay Glass Dubs Rework) - Remix [Rework] – Jay Glass Dubs

Experimental / Ambient Album by antonio.

Photo by Francesca Frattini

Introducing Dive Reflex Service’s debut album on Limbo Tapes – 12 tracks of deeply enthralling downtempo sketches from one of the most mysterious outfits operating on the fringes of the Bristol underground.

Three cassette releases deep, rounding up a seriously respectable roster of talent, the label isn’t one to court hype or social media stats. A pure outlet for musical ideas and exploration with no ego – Limbo Tapes has been flying the flag for the more abstract beats coming out of different corners of Bristol, plus a few friends further afield.

With two compilations and one artist cassettes under their belt, the label have made the jump to vinyl in fine style, headed up by Dive Reflex Service who was a contributor to their second compilation.

It’s hard to pigeonhole Dive Reflex Services sound, which is no doubt why he/she/they have found a home here – Loosely hip-hop related, heavy with dubwise production techniques – thick washes of atmospherics & dense layers of stretched vocal phrases flow between low passed beats and high end FX. Flecks of eskibeat & dancehall jut through at points, never fully materialising, it’s these hints that keep the whole album fresh and very re-listenable. Immediately enjoyable and deeply rewarding upon repeated listening.

The Fat Hop 7" series returns with a bang for 2014 with killer Instrumental B-Boy Breaks peppered with Bleeps, Hoovers and Warehouse raves references ! Label boss Jerome Hill return to his Itsu Uno guise and is joined by the mysterious Han Do Jin abley providing the flip side..

Oh f*ck, this LONG awaited burner from Manchester-based socio-political underground vocal force Michael O’Neill is here, FINALLY

“Essentially, we’re dealing with problems here. Let’s call it the 0800-FUCKPUNK-helpline, Michael O’Neill is on the other side of the speaker and needs you to know, as the ‘proper’ press text aptly puts it below, and as Mr. Huxley already warned, we’re all taking too much of that fucking soma!
Well here’s your undiluted antidote. 100% honest, 100% direct, 100% no bullshit – take the hit, Micheal O’Neill is here with a wake up call for us all. The album is called ‘The Binary Order’ but you can also just call it a slam in the face to all weakhearts and vampires, because this is political power punk poetry… That’s four P’s: one for each knuckle.”

“Chewed up and spat out, targeted and watched.”
Surplus labour piles up in concrete reservations. The veneer of democracy is fading fast. Confusion reigns. Our subjection to the economy’s ravenous death drive is eased and obscured by Silicon Valley soma, street drugs and the media’s trivialising babble. Pop music’s part of the distraction, of course, but it doesn’t have to be.

‘Binary Order’ is the debut album from Michael O’Neill, a child of Irish immigrants born and raised in North Manchester. A polemic on culture, class and society, ‘The Binary Order’ is fiercely political and musically infectious.

“I’ve had enough of this avant-garde shit”

O’Neill can rant like a Mancunian Mark Stewart when it suits him, but he’s a fine storyteller too. Privileged social butterflies, desperate addicts, vapid pop stars, and frazzled info-workers pass by in vivid character sketches. Lead track ‘One Rule’ is an anthem for the dispossessed millions – the clear-eyed urgency of its chorus contrasts bitterly with samples of a royal correspondent, fawning abjectly.

Produced by Sam Weaver (Hungryghost / Charles Hayward) with O’Neill, and additional input from electro-acoustic composer Danny Saul (‘Beowulf’ / ‘The Last Kingdom’), the album’s visionary production combines hip-hop swagger with clattering dub and cleansing acid. Its surgical hooks, unflinching lyrics and moments of sonic chaos are pacey and possessed of an irresistible narrative flow, you’ll be lucky to hear anything as bracing in 2019, or beyond.

"has pretty much been a ‘those who know, know’ sorta figure, but word of mouth isn’t enough for an album this good." - The Quietus

Dead Horse Beats is the stage name of Canadian musician, composer and
singer Patrick Wade.

Described as "a groovy treasure packed with the excitement and emotion
of a danceclub makeout session" by Noisey; Wade's releases with labels
in Montreal, New York and London span moods and styles from eccentric
trip-hop to pensive R&B and rattling disco tinged dance numbers.
As a performer and DJ, Wade has entertained tens of thousands at
festivals including MUTEK, Canadian Music Week, Igloofest, and Halifax
Pop Explosion and shared the stage with the the likes of Breakbot,
FKJ, Tokimonsta, RJD2, and Charlotte Day Wilson.

As well as a producer and songwriter, Wade's resume as a composer for
film and video includes award winning projects with the Royal Winnipeg
Ballet, Ubisoft, Landr and Destination Canada, as well as screenings
at Cannes, the National Geographic Film Festival and many other
festivals.

Wade's next album Inglaterra is scheduled for an April 2019 release
with Bastard Jazz Recordings.
Inglaterra', a ten song LP crafted over two years in the 28 year old
producer's Montreal studio, is a continuation of the Left-Field and
R&B influenced Soul of 2016's 'Bad Hopes'.

The Spanish word for England; 'Inglaterra' explores the concept of a
rainy vacation through deep, spacey grooves complimenting typically
pessimistic but vulnerable lyrics. Guest appearances from LA singer
Low Leaf on vocals and harp, frequent collaborator Francis Arseneau on
keyboards, and New York based saxophonist Jarryd Torff add soulful
expression to DHB's infectious, jazzy hooks.

Paper Dollhouse present All The Colours Align, a thirty-minute continuous mix created as a companion to The Sky Looks Different Here and compiled from unreleased and unheard material, mixed by The Sky Looks Different Here producer Asher Levitas and processed with Lynchian field recordings from the spaces in-between the groups North London and Suffolk studios.

Dustin Wong and Takako Minekawa began their musical collaboration in 2012, releasing albums 'Toropical Circle', 'Savage Imagination' and 'Are Euphoria' via US label Thrill Jockey in the subsequent years, and a collaboration with Good Willsmith titled 'Exit Future Heart' via Umor Rex in 2018. They build "jubilant, uplifting… repetitive, yet deceptively complex work" (Pitchfork) using a guitar, sampler keyboard, effects voice and synthesizer. Both also have extensive solo discographies and many other collaborations under their belts. In 2019, both moved from Tokyo to Los Angeles.

Haco is a Japanese vocalist, composer, electro-acoustic player, producer, engineer and pop visionary. She has received international recognition as the founder, singer and composer of legendary avant-pop group After Dinner (1981-1991), and subsequently as a member of collaborative projects like Hoahio, Ash in the Rainbow and Yesterday's Heroes. She has also released solo works via Tzadik, ReR Megacorp or SomeoneGood/Room40. Her latest projects include the 2017 album 'Qoosui' ("This is a siren song of an album, drawing the listener deeper and deeper into uncharted territories." - The Wire) and a recent remastered reissue of 2015's 'Secret Garden'.

Jára Tarnovski is a musician, composer and producer based in the Czech Republic. He is known for his numerous collaborations and projects such as the post-everything quartet Gurun Gurun (Home Normal), experimental duo Wabi Experience (Mikroton Recordings), improv collective IQ+1 (Mappa) or krautrock/shoegaze band The Czech Psychedelic Society Manifesto. His most recent releases include a collaborative ambient album with Mexican multimedia artist Laura Luna titled 'Luna & Tarnovski' on Genot Centre or IQ+1's second album 'Conversaphone Plus' on Slovak label Mappa in early 2019. He's currently working on his solo debut album, and also works as a composer for radio, animated film and installations.

Together, this quartet of musicians present 'Kannazuki', a recording of their first and last improv session held in Tokyo in 2017. This recording captures that one moment, the "musical adventure", the "translucent entanglement", the deep respect that each artist feels towards the others.

TALKING OF POST-TECH DIALECTICS,
THIS IS A TRIBUTE TO THE CYBERPUNK.

The mother of technology collapses. Ten fragments of her soul are spread in cyberspace. The last encoder composes the pieces to a manifest. A poem that is a call for the distortion of the artificial.

Manifest is an album, in which CORIN synthesizes the reconciliation of the dystopian and utopian. It is a story of manipulated time that exists out of instrumental and vocal proportions.

CORIN's debut on Bedouin Records will be released in late June. The LP includes 10 tracks.

fter Liquid Liquid disbanded in 1985 I continued to record electronic music at my home studio inEdison,New Jerseybut I decided to mix the songs for "Concepts" at another studio so I could have another set of ears to help with the mixes. I was lucky when I looked in the local music ads that I to find Gabriel Farm Studios inPrinceton,New Jerseyowned and operated by Andy Gomory. Andy was a true talent, a keyboardist and arranger, we hit it off immediately. After he recorded my mixes we would record songs together. Andy played drum machines and keyboards while I played percussion, keyboards, & guitar and we both sang. When Andy and I parted ways in the late 1980's I decided to add both drums and percussion as well as overdubs from guest musicians many of which are included on this album. The albums timeframe ends in the year 2004. The later recordings have a jazz feel to it yet still had dance music elements mixed in. The title track "Primitive Substance" really sets the tone as you hear the great playing of Michael Gribbrook on Frugel horn/Trumpet and Gerry Carboy on bass. Also, my favorite song on the recording "Forgiveness" has David Axelrod (not the famous one) playing beautiful melodic bass guitar thru out.

Special thanks to Euan Fryer of "Athensof the North" for releasing this album. As I listened to the songs I decided to use for this recording it brought back memories of the hours spent adding the extra sounds and instruments to the point where I wanted to listen to them again and again to see what I missed hearing . Keep a close ear this might happen to you after hearing "Primitive Substance".

Thanks for listening!

Dennis Young/April 2019

Discom proudly presents Du Du A- Du Du Archive 1984-1989 LP, a collection of previously unpublished and rare tracks of Belgrade's cult band Du Du A. Discover the music of the group whose leaders Dejan Kostic and Zoran Zagorcic primed for their never-released second album and find out why they earned a cult status among DJs and collectors worldwide!

* MIRAGES is the brainchild of Jean-Benoît Dunckel(AIR) and Jonathan Fitoussi.
* Spawning from Xavier Veilhan’s Studio Venezia at the 57th Venice Biennale and completing in Jean-Benoit’s studio in Paris.
* Collaboration between Jean-Benoit (AIR) and Jonathan Fitoussi.
* 12″ 180g heavyweight clear vinyl
* White printed artwork by Jean-Philippe Talaga
* Photos by Diane Arques
* Ltd Ed. of 500

“Synthesizers amassed through the years, which on this album, conceived with precision and care over the course of one year, reveal their essence –and more importantly, their soul, going from very cinematographic parts to very direct others. Between start and finish, a singular floating and inventive pop music unfolds. An upgraded form of instrumental electronic music, that takes the listener very far, and very high, perfectly mixing both musicians world, like fruitful pictures arisen from a desert that forgot to be arid. Their mirages are inventive, their mirages are fertile.” Joseph Ghosn

Legs 11 collaborate with the infamous drag DJ duo Lisa & Lisa for a special, limited 10" vinyl release. They first met at a festival in a community garden, where they both performed, instantly bonding over a shared love for underground pop music and clubbing. While dancing the night away in a tiny, steamy community garden play house, the idea for a collaboration was conceived.

Lisa & Lisa joined Legs 11 for their concert at Oslo Pride in 2018, adding vocals, dancing and fabulousness. The combination of the Lisas' irresistible, rough glamour and Legs 11's catchy, club tinged synth pop brought so much joy, that the obvious next step was a studio collaboration along the lines of Eight Wonder/Pet Shop Boys. The choice of covering Bertine Zetlitz' Girl Like You was similarly obvious, being the only true Norwegian electro pop diva. Adding Edwyn Collins' similarly titled song, proved a perfect choice for a double A-side single.

• Debut album by production whiz-kid Mantronix, one of the most important acts in the mid-80s hip-hop. Pioneers of drum machine, sample technology and art of the remix.
• Features NYC club anthems ‘Needle to the Groove’, Fresh Is The World’ and ‘Bassline’ (UK top 40 hit).
• This is raw hip-hop and electronic music of the highest calibre.
• Cult classic proudly reissued by Demon Records on 180gm heavyweight black vinyl with
printed inner sleeve.

LP comes pressed on 180 gram vinyl.

On 29th March, Reclaimed Records are proud to present pianist and composer Taz Modi's elegant debut solo album 'Reclaimed Goods', which brings to light his love for contemporary composition – something which may come as a surprise to fans of soulful dance music heavyweights Submotion Orchestra, and jazz trumpeter Matthew Halsall's Gondwana Orchestra - for both of whom Modi plays keys/piano. Whilst also gaining further demand as a musician, including for A-list studio and live work for funk 'n' soul legends Dennis Coffey and Fred Wesley, plus beatmaker heroes DJ Shadow and Mr. Scruff, Modi has been discreetly pursuing an additional passion during down-time for years – and his prolonged, patient crafting shows in the record's tasteful and beautiful spirit.

Calling to mind the piano music of Cage, Frahm, Hauchska, Sakamoto and Aphex Twin, 'Reclaimed Goods' is a graceful affair, in which lush strings and gently pulsing rhythmic flutters sit alongside prepared and plaintive piano, with the tunes ranging from sparse beauty to weightier moments of electronic rhythms. This allows the music to appeal equally to fans of heavier electronic acts such as Cinematic Orchestra and Bonobo, to devotees of ambient and contemporary classical music, as well as those familiar with Modi's work with both Submotion Orchestra and Matthew Halsall.



Positive review by John Lewis for the Guardian's contemporary music album of the month section: 'An even more effective exploration of solo piano territory comes from British pianist Taz Modi; best known for his work in various jazz and funk ensembles, his solo debut Reclaimed Goods features a host of introspective instrumentals that are reminiscent, variously, of Ryuichi Sakamoto (Libra), Nils Frahm (Time to Practise, Crystalline) and Hauschka (Ethical Tourist).

Featured in Music Week's Tastemaker section, 15th April 2019 with Haydon Spenceley: 'Listen to it; it'll lift you high above our care-worn world to a place of safety and grace'.

First single 'Ethical Tourist' featured as a premiere on 18 Feb 2019

Second single 'Crystalline' premiered on Boiler Room's 4:3 video channel, 12 Mar 2019

'A kaleidoscopic album that seductively pulls you in and leaves you curious about the inspiration behind the songs' - AAA Music

Positive review on Magazine Sixty

Support on Soho Radio, Dom Servini

Played on Worldwide FM, April 3, Gondwana Records show

Featured on Bleep's Spotify playlist 'For Your Ears and For Your Head', April 2019

Played by Mischa Kreiskott, NDR Radio Germany, ndr.de

Worldwide FM's Gondwana Records show on May 1 featured an interview with Taz Modi, along with multiple tracks from the album.



Musicians:

Taz Modi – piano, keyboards/electronics, arrangement and production

Natalie Purton – violin + viola

Liz Hanks – cello

Margit van der Zwan – cello

Seb Hankins and Jon Scott – drums

PYRAMID TRANSMISSIONS presents the 2nd solo release on the label from PT creator ADJ.

STREET LIFE Part 2 continues the theme of Part 1 with another 4 tracks of bass driven future electro music from one of the longest standing members of the scene.

STREET LIFE Part 2 is more pure Future Bboy music with punching kick drums, Alien melodies and crunchy glitches for that unmistakable ADJ sound aimed at making you dance while getting in your head simultaneously. ADJ always looks to the future but with nods to his past of 808 electro music.

A BRUTALIST BLOW. A DARK EXERCISE IN PROGRESSION. A PUZZLE THAT OUTLIVES THE EXECUTION OF HARMONY.

Vanta is a construction for the savage. It reaches the profane along with the cryptical. The EP includes 5 tracks in which Zomby redetermines his access to techno by developing a language that is archaic. A language that is his own.

Compilation of Aardvarck mainly unreleased material from one of our favorite and dearest producers.
Limited Edition Of 300. Every sleeve is unique - achieved with a computer generated randomization process for each print.

New Fly-Lo.. First outing since 5 years!

Drawing the lines between the galaxies of hip-hop, funk, soul, jazz, global dance music, tribal poly-rhythms, IDM and the beat scene of his hometown L.A, Lotus creates a universe that is uniquely his own. Calling on an all-star cast from the cosmos, Anderson .Paak, George Clinton, Little Dragon, Tierra Whack, Denzel Curry, David Lynch, Shabazz Palaces, Thundercat, Toro y Moi and Solange; Lotus takes these artists on an astral plane to explore his world of fire.

Airplay:
'Teleport' played on Tom Ravenscroft's show on BBC 6 MusicPrevious works played on Elizabeth Alker's 'Unclassified' on Radio 3 and 6 Music

DJ support
Elizabeth Alker (Radio 3/6 Music)

Good reviews:
"a truly special tune called 'Teleport'. A beatless melody – its arpeggios soar high on the air. You imagine the setting sun turns cloud to hues of pink and orange. The sky is awash with the remains of the day. Omori's weightless voice echoes into focus with the words 'teleporting, through the atmosphere'. Your body fades into the ether." - Timber Festival

Background of the release: a voyage through the universe.
"Voyage" sees the journey through outer space, soaring through the universe - "Teleport" following, depicting the other side, the unknown.
About the artist:
Hinako Omori is a musician and programmer based in London via Japan, with a love for synthesizers and anything that makes interesting sounds.Hinako initially learnt classical piano from the age of 5, but her fascination soon turned to analogue synthesizers after meeting her college Music Technology teacher who became a mentor. She went on to study the Music and Sound Recording (Tonmeister) course at the University of Surrey, where she met some of her closest friends and collaborators who she has been very fortunate to work with over the years in various studio and live projects.Aside from producing music for her solo project, Hinako has most recently been touring and playing synths with James Bay, Kate Tempest, KT Tunstall, Georgia, Ellie Goulding and Fionn Regan across Europe and the US, with festivals including Glastonbury, Primavera, Festival No.6 and support tours with The Flaming Lips, The Kills and Hot Chip.

On Otun, the breadth of Montoya’s influences and tastes is at its most striking; the dulcet techno hum of “La Pastora” is perforated by sprightly flutes and percussion, while lead single “Solo Quiero” deploys a languid reggaeton pattern beneath Bogota rising star Pedrina’s distorted, wilting croon anticipating a euphoric synthesiser-lead climax. The title track, featuring a sultry guest vocal from Nidia Gongora, is a fierce and vigorous club anthem, amplified by hissing synth pads and sordid breakbeats. Even a more straightforwardly techno track like “Tatacoa” is stylised with intoxicating Indian vocal samples, and more traditional folk selections like “Orun” still use an inobtrusive bassline drone. Montoya’s palette is simultaneously expansive and curious, yet coherent, with a steadily melodic electronic through-line running through Otun’s duration.
Montoya absolutely sustains ZZK’s pedigree of platforming the most exciting and inventive electronic artists from Latin America, joining the storied legacy already built by the likes of Nicola Cruz, Chancha Via Circuito, and King Coya. 

Stephane Severac's 1987 'Hold On' is one of those obscure slices of pop history whose memory was preserved by the deep diving Balearic heads of the world...

Tamburi Neri is an Italian music duo comprised of Brioski and Andrea Barbieri. Their debut single was 'Pelle Rossa' on JD Twitch's Optimo Music.

'Dolce Veleno' is Tamburi Neri's first release on Mad On The Moon, fusing techno drum lines with spoken word.

The second album from outfit Trauma Trauma contains a elevated blend of primitive electronic music. Humanized machine music that relates to the german label Sky's early 80's releases combined with lo-fi boogie/r'n'b excursions lost in the streets of Stockholm.

Bold, inventive, daring and electrifying, 'Vision Electrified' is Xhin's most personal work to date. An alchemy of IDM, jazz, techno and live instrumentation, the artist's latest polarizing EP breaks through the barriers, further carving his highly unique space out in the sonic universe.Full printed sleeve with coloured artwork on cardboardcreditsreleases June 14, 2019

Full printed sleeve with coloured artwork on cardboard. His last release was in 2017.

Synths, programming and guitars by Xhin
All tracks written and produced by Xhin
Recorded and mixed in Singapore
Vinyl mastering by Simon Davey at The Exchange, London
Artwork by Xhin

After a 5 year pause for breath, Rainer Veil return with their debut full length for Modern
Love; an immersive, kinematic tumble through electronic forms from hyper trance to
tape dub experiments and loose polyrhythms - a summoning of ‘ardcore spirits in flux.
A hypnotic soundworld tempered by weighty bass and angular construction, ‘Vanity’
marks a breaking away from the binds of overthinking, an embrace of imperfection. It’s
a brighter set of tracks then anything we’ve heard from Rainer Veil before, discarding the
foggy filters and guitar pedals that were the signature of their first two EP’s in pursuit of
a more loose-limbed and swung ideal.
Opening on the skeletal Trance vapour-trail ‘Sim Screen’ and the agitated ‘Repatterning’,
we head into a ferociously asymmetric warehouse swerve ‘In Gold Mills’ conjuring an
uncanny, nighttime vision of suburban bass riddled with tension and bliss. ‘Shallows’
retreats through isolation dub, echoing ‘Change Is Never Easy’, a re-worked House
template fractured to its bare percussive core, while ‘FM2’ entwines a double helix of DX7
patches with a heart wrench, and ‘Gauze’ dismantles a mosaic of Kwaito patterns, buried
under a haze of smoke.
Tracing rapidly mutating electronic forms, from ringtone hooks to latinate rhythms
and Razor synth edits, ‘Vanity’ explores an instinctive swell of ideas and influences in
perpetual and unstoppable forward motion, a sequence of flash frames captured and
distilled for posterity.

Overmono's Poly Kicks label returns with the next installment in it's '50 Locked Grooves' series. Joy O supplies 50 total killer vocal loops.

UK mastermind Phil Gamble aka Girl Unit makes a powerful return with Song Feel, his debut full-length album and first release since 2012’s acclaimed EP Club Rez, featuring Kelela, Taliwhoah, Ms Boogie and more.



An essential member of London’s eclectic Night Slugs camp, he’s back with a fully developed body of work featuring six key vocal collaborators. While still steeped in low-end pressure like his past work, Song Feel r eaches toward a classic timelessness: time-honoured elements of production sit seamlessly alongside the most contemporary sounds, as Girl Unit densely layers radio gloss and big melodies over beats that take influence from a variety of Club and Pop sources.



Since the start Girl Unit has always taken influence from pop, preferring to hear music with vocals both on and off the dancefloor. Here he has created a unique sonic environment for each of his collaborators to tell their story. The record opens with ‘WYWD’, featuring R&B iconoclast and long-time collaborator Kelela gliding over intimate street soul sonics and luminous funky leads. Next, a volatile West Coast bassline and stadium-size dancehall percussion guide British singer Taliwhoah through elegant synth washes on ‘Stuck’. On ‘Wreck’, Brooklyn rapper Ms Boogie spits hardcore verses that twist and turn along GU’s erratic lows, creepy atmospheres and drillin’ drums.



‘Pull Up’ featuring Tampa’s Thast delivering a menacing confrontational flow over gliding subs and eerie staccato. Los Angeleno Rush Davis sings metaphysical soul over a saccharine choir on the slow-burning ‘Evidence’. Lastly, London’s Brook Baili dances with big piano chords and jubilant basslines on the radio-ready swing of ’24 Hours’.



Though Girl Unit gave his features free reign vocally, clear themes of changing relationships in a modern era emerge across Song Feel, lending the record a curiously frothy yet intimate sensation. In-between, blissfully stripped-down instrumental interludes bind everything together, giving the album’s host and creator some much-deserved solo time.

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1
Breach One
9' 36''
2
Interlude One
3' 26''
3
Breach Two
7' 05''
4
Breach Three
9' 32''
5
Interlude Two
2' 29''
6
Breach Four
7' 34''
Breach dives into chaotic systems and reflects on the recent events of protests and riots in the world, exploring the build up and release of tension and energy in a new form of pitch black metal electronics and polyrhythmic structures.

Zeno van den Broek is a Dutch-born, Copenhagen-based composer and artist. Van den Broek works in a multi-sensory way to research and express physical, social and acoustic notions. He utilises audiovisual means to create site and concept specific works. This trans-disciplinary method has a strong conceptual foundation, originating from a background in architecture, which enables Zeno to comprehend and reveal the richness and complexity of spatial, visceral and physical perception. He works with a characteristic artistic language based on minimalist and fundamental elements such as sine waves, lines, noise and grids.

Released on the occasion of Thomas Baldischwyler's booth in the collaboration section at ART COLOGNE 2019.Through a Soundcloud mix by London Crew Front Left Life, Baldischwyler was pointed to the mysterious Laton 12" VI AUX by the Austrian project FON (Formation ohne Namen) which was released in 1997. The project consisted of Johann Groiss und Manfred Söllner, but it was mainly Söllner who was responsible for the production. Baldischwyler got in contact with Söllner in 2018 when he stayed in Vienna and asked him if he could release some of his recent productions, for the second time - after 20 years - on vinyl. While reading a documentation about the SS division "Feldherrenhalle" burning some of the most important works of Austrian artist Gustav Klimt (Especially "Schubert at the piano" from 1899) on the last day (May 8th, 1945) of the second world war in the Austrian manor house Immendorf, with this idea, Baldischwyler started to make the artwork and Söllner selected the tracks which are now in the "hidden" grooves beside the recording of a 1969 workshop for fire safety in California, USA.

ASA 808 delivers his debut mini album, merging his boundary-pushing club tracks with forward-thinking ambient & post-rock influences, dominating the space between the two.

Over the course of several EPs with the Berlin based TOYS label and an acclaimed three-tracker on George Fitzgerald's ManMakeMusic imprint, Asa has established himself as something far beyond a standard dance music producer. With every release, he hones his off-kilter approach to electronic music, continually adding new strokes of colour to his catalogue.

His debut mini-album is no exception: every track bleeds with melodic intricacy and brooding arrangements, showcasing Asa's unique capacity to flip the script.

DJ Support: Addison Groove, Alex Do, Avalon Emerson, Barker & Baumecker, Ben UFO, B. Traits, Breach, Charlotte de Witte, Damian Lazarus, Dark Sky, Erol Alkan, Etapp Kyle, Frits Wentink, George FitzGerald, James Zabiela, Leftfield, Maceo Plex, Marcel Dettmann, Marcel Fengler, Sasse, Skream, Tensnake, Tom Trago, Whitesquare

Repress available in early May.

Faitiche releases a new collaboration between the Japanese sound artist ASUNA and Jan Jelinek: the album Signals Bulletin brings together joint improvisations and compositions made over a period of three years in Berlin, Kyoto and Kanazawa. ASUNA’s meandering organ drones merge with Jelinek’s pulsating synthesizer and field recording loops to create dense superclusters that span broad harmonic arcs.

"Watching the Japanese sound artist ASUNA playing the organ, some people might be surprised. ASUNA is no virtuoso flying over the keyboard in a rage. Instead, with the calm gestures of an office worker, he cuts strips of adhesive tape to the correct length before sticking them onto the keys of his instrument. In this way, large clusters of keys are held down, creating a dense and sustained range of frequencies, while the sound artist continually prepares further sets of keys or removes tape again. I have rarely seen a more convincing performance concept, with such a power to fascinate.

I first met ASUNA when we both gave a concert at the 21st Century Museum of Contemporary Art in Kanazawa, his home city. He performed the organ drones as described above and I immediately knew I wanted to collaborate with him. Six years and five meetings later, we completed Signals Bulletin. The album includes both joint improvisations and compositions, recorded in Berlin, Kanazawa and Kyoto.

Whether using prepared organ, Casio keyboards or mechanical plastic toys, ASUNA creates rich textures of sound that barely change over long stretches of time. It is a music without breaks. For a while, I was unsure how my loops made using modular synthesizers and live sampling fitted here – until I realized the role I had to take in this duet: I would provide the rhythmically pulsating foundation over which his dense continuums could unfold.

The result is harmonically drifting superclusters that put us into a meditation-like state. It can perhaps be compared to Automatic Writing – a mode of creative expression floating somewhere between concentration and distraction. Both the structure of our pieces and our approach to our instruments allow a similar “absence”: we let the machines play and repeat themselves – while we, in a mild form of trance, adopt the role of observers, intervening only occasionally.

It is no coincidence that ASUNA owns a collection of Doodle Art – drawings jotted down during conversations or while talking on the phone. It is said that works made like this point to the unconscious and reveal pet motifs – because a doodler always inadvertently returns to his or her favourite themes. The artwork for Signals Bulletin features pictures from the collection, in this case sheets of paper from the pads provided in stationery shops to test out pens. The special quality of such doodles is that the jumble of drawings is the work of a collective whose individual members do not know each other. Layer by layer is added, by someone different each time – until it becomes a dense cluster of lines and symbols ..."

Jan Jelinek, Berlin 2018

"Mannequin Records and Platform 23 come together to start a series of stand-alone reissues of the music of post-punk / industrialists Bourbonese Qualk, starting with their 1983 album Laughing Afternoon. Formed in Southport during the late-70s, the band came to prominence out of South London's squat scene via their own Recloose Organisation. Early releases including the band's first experiments put to tape and the now highly sought after Sudden Departure compilation featuring luminaries Colin Potter, Eg Oblique Graph (Bryan Jones) and Lol Coxhill, laid the foundations of their burgeoning sound.
Recorded and produced at the Recloose Studios in Camberwell in 1983, Simon Crab, Julian Gilbert and Steven Tanza infused their music with politically charged atmospherics, instrumental exploration, heavily laden reverb and dub, all projected by drum machine rhythms to assemble a musical collage which encapsulated strands beyond contemporary music.
Track titles decipher little, as with the music, a discourse not belonging to a set style or movement, but crossing boundaries of supposition, pushing distortion and outernational leanings towards something else, a primordial discant. While tape loops warp the ears and spoken vocals propel songs like Blood Orange Bargain Day and To Hell With The Consequences and contrasting guitar acoustics pierce the mood on Qualk Street and Spanner In The Works, the overall embrace is claustrophobic, embedding a foreboding for the times. This unique, indulgent, cross genre melting pot where pounding rhythms, wailing trumpets, mournful melodica and electronic pulses all spiral in a contagious dissonance that heralded Bourbonese Qualk to the wider world.

Sworn Virgins are back on Soulwax/2manydjs label, DEEWEE with two more hugely effective club tracks entitled ‘Lazer Beam / Take Your Lady.

From the green hills of Albania to the back rooms of New York City, Sworn Virgins bring the light. A strangers hand on your shoulder, bright red painted finger nails scratching your thigh, all those beautiful things that made you leave that small town you came from. Greased up and ready to go, close your eyes and take it in.

Alex Jann returns to Censor for the label’s second excursion into the unknown with three direct communications and a mix of the title track from Rotterdam’s Animistic Beliefs.

The EP’s title track Computoid.Transmission.X is a pulsating drum workout laced with dystopian pads, laser-cut leads, anxious bass lines and an evocative mutant vocal from an A.I. system gaining consciousness.

Animistic Beliefs create a darker texture in their Electric Eye Mix of the title track, sending the vocal and lead sound straight through the stratosphere via complex bass and arp phrases that filter and stalk around the lead bringing a deeper and more contrasting A2.

Firewall Culture comes as an intoxicating trip on the B1 with off-world FX, feral acid lines and a spacetime-defying style of vocal that haunt Alex’s work.

Jupiter Storms on the B2 ascends the EP to a higher plane with deep washes created from evolving pads adding space and movement to the final track of the release, all accented with glacial micro drops, syncopated beats and tight trickling synth sections. The release was mastered by Keith Tenniswood at Curve Pusher.

Japanese maverick ALTZ teams up with relative newcomer IGAXX for a wonderful debut on the new LADYBUG imprint...

Having released the superb 'Permanent Vacation' on ALTZMUZICA a few years back, the two made a musical connection that has come to fruition with their celebrated Star Child parties & this collection of mesmerising cuts.

Osaka born ALTZ has forged a genre-defying career both behind the decks and in the studio, always unconventional, he combines a wealth of influences into something genuinely fresh.

He capably takes the A side here, with 'Ottie' a loose, musical and low-end heavy Theo style jam, while 'Sly' is a gurgling synth-out.

Tokyo's IGAXX steps up for the flip, with the atmospheric and intricately realised 'Sonorama' leading the charge. 'Minotaur's Dish' presents us with another exquisitely layered number, with aquatic undertones and a hypnotic appeal. Finally 'Unnn' leaves us with another beatless synth exchange, ending what has to be one of the strongest debut 12's we've heard in a while !

Bybo Funk's interstellar and futuristic sound returns in the form of a brand new LP entitled "Black Eye Galaxy".

Cygnus aka Phillip Washington returns home to CPU with Deep Analysis. Six tracks of nebulous compositions all containing his signature emotional and melodic electro.

Sheffield Bleep is an ode to CPU Records complete with an old school vocoder rap over CR-78 rhythms. Deep Analysis is an answer to one of Washington's favourite tracks 'Sleep Paralysis' by Mikron. Ultraterrestrial, Her Majesty and Descent of Man are beautiful si-fi electronic music without comparison. The E.P. wraps things up with Hallucinate Data cementing Cygnus as a master of the genre.

“Le Lisse et le Strié is a new work by french composer François J. Bonnet, released under his project name Kassel Jaeger. Based in Paris, Bonnet is the Director of INA GRM. He is also a writer and theoretician (The Order of Sounds, a sonorous Archipelago and The Infra-World have been published in english by Urbanomic). As a musician, Bonnet has been collaborating with artists such as Stephen O’Malley, Oren Ambarchi or Jim O’Rourke and most of his recent work has been published by Editions Mego.

Le Lisse et le Strié has been conceived as an exploration of the two antagonist concepts of “smooth” and “striated”, applied to the realm of electroacoustic sounds. If the “smooth” is linked to “nomos” as an open space of organic distribution, the “striated”, on the contrary, is associated to “logos”, as an enclosed space defined by a grid.

Elaborating a dialogue between these aspects, Kassel Jaeger draws here an intermediary space where pulsations become textures and layers, and where rhythmic elements are found in the qualities and bodies of sounds instead of being functionnalised, pre-determined sound objects, abstracted and frozen onto a temporal grid. The concept of “striated” is made audible only through the sonic landscape it inhabits, like the stripes of the camouflage fur of wild animals only exist as such in the woods and long grass, disappearing into a potentially uselessness in a desert plain.”