Beats Vinyl New Releases - News

More and more and more of the good stuff. Ear piercing highs with Earthquake bass, what else could you want!

- the Picture You See Is No Portrait Of Me (true Faith 1989) With innere Tueren', Ergin Erteber Publishes His Artistic Approach To Sound And Vision. It Is A Journey In Which Sound And Images
Unite Compellingly And Form Multidimensional Spaces.
After A 5-year Period Of Experimentation, innere Tueren' Is His Decampment And, At The Same Time, His Liberation From The Dogma Of The Often Functionality-reduced Claim In Electronic Music. With Him Sound Formations Arise Exclusively Through Images, Already In Existence. He Sets These Images To Music And Fills Them With An Emotionality That Was Hardly Heard Before.
Born And Raised In Heidelberg, Ergin Erteber Has Always Been A Prisoner Of His Very Own World Of Images, Which Later Led To His Intense Involvement In Design And Photography. Constant Companion In These Times Was The Music With The Result That He Had To Merge Both Worlds For Himself.
In The Course Of This His Way Led Him To Darmstadt Where He Discovered Music-production In Addition To His Studies. At The Same Time, He Was Both Creatively And Musically Involved In The Art And Club Project galerie Kuzweil'. In This Environment, He Was Able To Gain Many Experiences That Were Certainly Also Formative For His Approach To Music.
His Previous Projects Such As things From The Basement' Also Show Stages Of This Development. In This Particular Collaboration With Steffen Neuert (bergheim 34) It Was Already Apparent That He Was Less Concerned With Functionality, But Rather With Aesthetics And Charisma - In A Figurative Sense, A Rapprochement With The concept Of Beauty' By Umberto Ecos, Whereby Here Rather The Ear As The Eye Is The Center Of Perception. This Approach Is Now Even More Delicate In innere Tueren'.
With The Help Of Jan Barich (map.ache) Ergin Erteber Has Now Been Able To Translate His Own Fragile-poignant Soul Language Into Wonderful Music. The Album, Which By The Way Was Mastered By Josh Bonati In New York, Appears On March 22nd In 2019 On Kann. On 21.03.2019 An Exhibition For The Album Will Take Place In The Gallery Ortloff In Leipzig.

Pigmalião is moving forward in his musical direction and sound, this release really shows where he is and is going. The tracks Aurora and Baskéda are ever moving sounds of energy sure to a dark basement but keeping the originality Pigmalião always has making his tracks stand out in the constant traffic of electronic music being released. Zingili is another great example of his always great sample selection taking you on a Fifth Element style mechanical beats journey to a distant planet's civilisation and the final track Bahiafro takes the album down in energy to a slower tempo but hauntingly beautiful, like that long slow journey back to Earth with the memories of the amazing adventure you have just been on.

Lagaffe Tales introduces new BROT series with four electro-tinged cuts from Iceland's Felix Leifur entitled 'BROT01'.

Reflecting the harsh nature of Iceland's unforgiving, barren landscape, Lagaffe Tales push alternative styles of modern dance music with their new BROT catalogue. Lagaffe's main series includes releases from Icelandic talent like Intr0beatz, Ilo and label boss Jonbjorn, with Lagaffe Tales maintaining its reputation for supporting local artists by inviting Felix Leifur to the imprint. Felix has built a solid reputation for himself following releases on Frits Wentink's Bobby Donny label and Dirt Crew Recordings with 'BROT01' being the first in a trilogy of releases coming in 2019.

'Brot 1' kicks things off with resounding electro drums, thick low end and glitchy oscillations before 'Brot 2' delivers gloomy synth notes and clattering 909 claps floating around modulating obscurities. Raw percussion balanced with stabbing bass and airy pads take the focus in 'Brot 3' until 'Brot 4 rounds things off with delicate pulsations bouncing delightfully off the polished kicks and wavering melodies keeping you locked in throughout.

HRNS is the collaborative project of two young Portuguese musicians Rui Andrade and Afonso Arrepia Ferreira based in Lisbon and Porto, respectively. 'Naomi', their debut album, arrives after a series of EPs and singles released in 2018 via various independent labels.

Widely revered French DJ and producer, Thomas Arroyo aka Laroye has released music exploring a variety of different genres from broken beat on the early days of MCDE and Faces Records, through to funk and boogie with QWESTLIFE on Midnight Riot, Black Riot and ISM Records and beyond. His creativity extends to a number of side projects, like Soul Rüma (with Andre Espeut) and experimental modular jams and atmospheric blues with his own project The Tom Laroye Experiment.

His next release on Tiff's Joints has already received the seal of approval from the likes of Laurent Garnier, Alexander Nut, Volcov and more. The A1, 'Colombia 26a', sets pace for the release with heavy Afro-Latin percussion, a thick bassline and the type of dexterous musicality the label is steadily becoming known for. 'The Trickster' is built around an infectiously squelchy keys part, bolstered by a bouncing bassline, the track culminates in a soaring lead melody and ridiculous synth solo. 'Espiritú' is more downtempo and spacey. Kicking off with a relentlessly driving and hypnotic polyrhythm, and complete with an uplifting choral arrangement, seriously trippy lapsteel guitar (!) and a mysterious guiding voice.

This new set of compositions retreats towards a quieter and more contemplative zone, weaving together the soft accents of field-recordings, microscopic sound fragments and modular synthesis. The result is a hypnotic mesh of musique concrète, drone, prepared sounds and shimmering electronic synthesis. The pieces fluctuate between the machine-like and the organic, and sometimes combine the two to create a beguiling sonic ecology. It's with a kind of forensic precision that Prudence has reconstructed from his palette these unexpected chance encounters of sound. Modular rhythmic collages are grafted onto subtle melodic phrases, stuttering percussive structures are held in orbit by elliptical sinusoidal drones. Prudence talks about these compositions as being audio-visual experiences without the visual part. The tracks create a sense of motion in space, kinetic activity and the existence of teeming entities.

An exploration of traditional Chadian music with an electronic twist...

Chad is in many ways a blind spot on the map of today's global musical conversation. Overlooked, misunderstood and misrepresented, outside observers rarely concede the country an autonomous voice over its past, present and future. N'Djamena, the dusty capital of Chad with its well-kept stories of boundary-breaking musical collaborations and thirst for experimentation is a city that reflects the country's diversity: the arid North, bordering the Sahara, where nomadic tribes revere the endless desert with their handcrafted instruments. The lush tropical South, where the frenetic drumming of local initiation ceremonies blends with sounds of neighboring Congo and Cameroon. Right in the middle: N'Djamena, a forgotten melting pot of cultures and peoples bursting with unrecorded stories of life at the margins of the world's attention.

Tackling this view is precisely one of the aims of Pulo NDJ. In May 2018, Nickodemus accepted an invitation from Hape Collective to travel to N'Djamena to teach a group of young adults DJ'ing and electronic music production, which resulted in the encounter between and a group of talented artists from Cameroon, Chad, Congo and Togo. After a weeklong series of listening to original songs & demos, the recordings continued in a pop-up studio created by DJ Buosis & Nickodemus which culimated in Desert To Douala, an album featuring 11 songs, all originally written and recorded in N'Djamena.

The project found its inspiration in the city's un-narrated diversity and seeks to explore the possibilities offered by technology to demonstrate how the country's rich heritage connects with existing musical conversations. It strives to create bridges in a world of walls. It has been a yearlong creative process that built friendships and fostered understanding among people united by a passion for music and creation.

Lebanon Hanover's bassist William Maybelline is back with his solo project. After the debut album Sable from 2015, Qual strikes back with a three-track 12' maxi-single. Each one of these new songs explore a different dimension of Maybelline's approach to Body/Wave electronics.

The title-track Cupio Dissolvi is what we may already call classic Qual: gloomy and throbbing, synth-driven and labyrinthine. A Bloody Blob explores new martial slants, with war-like timpani and a marching robot gait. Rape Me in the Parthenon is a 8 minute long dancefloor mayhem anthem scanned by some pounding techno drumbeat and EBM snare and pads. The most alert of you already checked this in some Ancient Methods DJset. By far the most extreme track Qual recorded so far.

'Buried in flowers with hands of gold / Buried together we'll never mold' shall be thy epitaph here, as well as your message engraved on virgin vinyl.

New edition of 300 on clear wax!

Over two years in the making, 'Talisman' is a retrospective and re-interpretative celebration of the work of American musician Robert ÆOLUS Myers. Touched first by the emotional depth of the music, and subsequently by the warmth and wisdom of the man, Origin Peoples sought to capture a snapshot on this special vinyl release.

This newest chapter of the ÆOLUS myth seen for the first time on vinyl are five of his most expressive pieces, alongside a quartet of remixes by kindred spirits from all corners of the globe. This is the first time his music has been interpreted by others, and Robert's delight at the result speaks volumes of his adventurous and open-minded attitude. Approaching the often intangible new age genre with a humanist approach, Robert creates immersive and expansive pieces which connect with the listener on a spiritual and emotional level.

Archetypal narratives are retold through nuanced electronics, evocative motifs and empathetic flute, the varied compositions informed by Myers' classical training, spiritual pursuits and study of ethnomusicology. Part retrospective, part remix project, 'Talisman' is the perfect reflection of Robert ÆOLUS Myers, a musician whose timeless expression of theme and emotion has enriched minds, bodies and souls for almost 40 years.

Jaka Forma completes the Seltron 400 trilogy on Warsaw's MOST. The quirky sounds of their previous two releases - Zabawa Trwa and Trans i Bas - have garnered support from music lovers and heavyweight selectors alike (with Helena Hauff, Veronica Vasicka and Marco Passarani among them).

The duo continue to weave their sonic story upping the tempo on the breakbeat-driven roller Kiepska Forma. The track comes with a more contained techno mix as well, entitled Forma Swietna. The b-side carries Jakze Srogo - a firm crowd favorite from the Seltron live show, and a nod of sorts to the sound and times of electroclash, even though we won't argue that the tune is anything but pure Seltron 400.

Redstone Press co-founder Pseudopolis returns to the label for his second 12" with a harder edged and faster paced flirtation between UK Techno, electro and breaks.

The A-side dives straight into kaleidoscopic hypnosis with an intense drum workout on 'Yaris Crew' & the haunted synth lines and tripped out dub stabs of 'Pressure'. Whilst the B-side hikes up the bass-weight with urgent twisted breaks on 'Frenzied' and peaks with the patient building euphoria of 'Dirty Palette Cleanser'.

Support from Midland, Batu, Re:ni, Laksa, Addison Groove, Gramrcy, Eris Drew, Object Blue, Andrew Thomson (Huntley & Palmers),

Phran returns to Best Effort with an incendiary array of dance floor heaters, transmogrifying his hypnotherapeutic impulses in some startlingly different ways.

Phran introduces his DJ Phidias persona on the A side of the 12', starting proceedings with 'Sisplau' and its darker complement, 'Diamantera' - two cuts of twitchy latin drum programming, dub delay flourishes and freaky synth lines that recall the acid-drenched deliriousness of Villalobos' cooked conga sessions. The pitched-down B-Boy rhythms of 'Dummy Text Generator' are a change of pace but are no less weird, setting an acrobatic, constantly contorting acid line over fizzing roland drums.

The B-side is fully submerged in murk - First on 'Fleurhaus' and then when versioned on 'Fleursky'. The former foregrounds the snappy drums and heavy bassline before seemingly drifting off into an abyss of echo, returning - albeit slightly - from the void on the ethereal 'Fleursky', where he's joined by constant co-conspirator Ivy Barkakati on a Casio SA-39 keyboard. Amplifying the beautiful spaciness of the original while retaining the bass pressure, it's a perfect implementation of dub's alchemical processes.

Proceedings start with 'Sisplau' and its darker complement, 'Diamantera' - two cuts of twitchy latin drum programming, dub delay flourishes and freaky synth lines that recall the acid-drenched deliriousness of Villalobos' cooked conga sessions. The pitched-down B-Boy rhythms of 'Dummy Text Generator' are a change of pace but are no less weird, setting an acrobatic, constantly contorting acid line over fizzing Roland drums.

Early support from Luca Lozano, Roza Terenzi, Ben Fester & Adi Toohey
Available March 2019

« Remixes » is a meeting of French electronic champions.
French Touch veterans I:Cube and Chateau Flight, trendsetting DJ Raphael Top Secret and newcomers Flegon provide us with remixes of the autumn released LP « Sphere Of Existence » by Antoine Kogut.
Where the LP explored atmospheric and experimental pop, « Remixes » gives us a perfect four tracker that is made for the dancefloor.

On side A, Chateau Flight transforms the title track « Sphere Of Existence » into a 90's Italo house banger while I:Cube does what he does best in his unexpected dub version. On the B side, Raphael Top Secret reworks « Current density » into a Hip House track full of jaunty vibrations and newcomer band/label Flegon fulfilled their goal of working with their all time favorite French Touch pioneer label Versatile giving us a Nu-Disco remix of the song « L 'oeillet noir ».

Ghost Ships, the label, will be a non expected music mirage that its planned to appear and then be vanished . This is the first release out of five, with a limited run of only 100 copies, each one of the releases will accompanied with a series of artworks in which we interpret as space figures created by artist Meesh Nah. The first cut is made by Butch Sundance and Joone, sticking to a just hardware and analogue process manifesto on the X side 'Star Meltdown' hypnotic and atmospheric, arpeggiated melodies driving the track from start to end with a solid beat. Y side 'Planet X' house flavoured track with distinctive synth stabs, percussion and piano breakdown.

In the last few years London has become the centre of the Jazz Renaissance. A

new burst of energy and attitude brought by young musicians, equally inspired

by the likes of John Coltrane, Pharaoh Sanders or Sun Ra, as well as

Madvillain, J Dilla, Flying Lotus and Floating Points, has brought a welcomed

freshness to the London Scene. This exciting new environment brought a group

of young musicians together, all with a mutual desire to discover a new form of

expression. Together they created Cykada.

Korpus 9 return with another powerful EP, this time from Tom Hades. The Belgium based artist is a driving force in the scene and has elapsed on all the biggest labels from ELEVATE to Drumcode.

Here he kicks off with Acrab, a blistering number with deft synths and floating drums that really get you in a trance. Biham then gets more intense, with layer upon layer of icy synth and bright lights emitting from the pads in the background. Chara then shows off busy drum work, with organic hits and suspense filled grooves that take you on a real adventure, then Dubhe hits you over the head with more blistering drums and warm bass. It's a fantastic way to close an essential EP.

Optimo Music is thrilled to present 'Weaponise Your Sound', which has been curated, conceived and designed by Kristina McCormick (Diet Clinic). Diet Clinic is an NTS radio show showcasing female DJs/artists.

It is the first vinyl release on Diet Clinic's newly-formed sub label of Optimo Music marking International Women's Day 2019 and featuring brand new tracks from artists C.A.R, Cucina Povera, Fantastic Twins, Human Jones, Maral, Marika Underspreche, Odete, Penelope Trappes, Slime, Sue Zuki and Zoe McPherson.

They may be scattered across the globe but their love, strength and support for their art and counterparts continue to inspire on a daily basis.

All proceeds go London based charity, Focus E15 which demands social housing, not social cleansing!

A.C.E.W returns on wax with a brand new EP from the label owner himself! Italian genius Emilio Urbano graces us with four no-non sense electro tracks in his typical signature. The 12'' kicks off with irresistible 'Space Lazar', a milestone of a cut that sounds like a bit of a departure from the normal A.C.E.W style, yet still retains the low end bass while creative pads, robotic voices and evil synths will alienate your mind. Perfect to warm a crowd at 4am after a smooth drop. With its pounding electro rhythm and old school lyrics, 'Let's Rock' coming next goes back into time, delivering another timeless funky electro slaughter. On the flipside, Electro Magicians', written along with Ghost Ride, signs one of A Credible Eye Witness most nasty anthem, serving up a sinister tune surrounded with industrial tones, intricate lyrics and bubbling 303 loops. A track that will haunt your mind for a while! Last but not the least, untouchable 'Prediction' brings that familiar vintage A.C.E.W style you are looking for thanks to hypnotic 909/808 kicks, synthetic swirls and heading melodies. A club banger for sure! From A to Z, massive 'Magnetic Frequencies EP' gives you what you have come to expect from A.C.E.W imprint, introducing enough vibes and dancefloor moments to propel us into the future!

Bambounou makes his debut on Whities with this three track 12â. Taking inspiration from a collection of music that was made specifically for his fantastic set at Freerotation in 2017, the tracks all showcase the Parisian's flair for minimalistic rhythms and groove. It's music that feels most at home in that heads down part of the dance, where it pulls everyone into the same collective consciousness. The sleeve was designed by Kia Tasbihgou and Alex McCullough and features a photograph taken by Oskar Proctor. The tracks were mastered by Neel at Enisslab.

Lakker Return To R&s With Their Stunning New Album, Época. Following 2016's Conceptual 8 Track Maxi-ep struggle And Emerge' (using Field Recordings Of Tv And Radio Broadcasts From The Dutch National Av Archive) Época Is A Bracing Return To Form, Combining Caustic Electronics With Fresh Inspiration From The Prepared Piano Of John Cage, Plaintive Folk Melodies, The Explorative Label Sublime Frequencies And The Raw Rhythms Of Kampala's Nyege Nyege Tapes. 

Following A Restorative Creative Break To Pursue Their Own Solo Projects (as Arad And Eomac Respectively) The Duo Finally Returned To The Studio, Finding Themselves Working More Closely Than Ever Before. "we Wrote This Record Together, In The Studio As A Duo." Ian Explains "previous Records Involved A Lot Of Time Working On Tracks Individually, But Época Was Written Almost Entirely Together In The Studio - It Felt Much More Fun, More Organic And Democratic." We Allowed It To Happen Rather Than Push Or Pressure It" Dara Adds.

The Natural Evolution Of The Tracks And Their Rougher, Looser Production Sound Parallels The Duo's Interest In Two Separate Ideas: Ambient And Natural Sound, Especially The Background Noise - A Sense Of Time And Place - That Is Inherent In Old Recordings Of Folk And Classical Music, And An Interest In Herd Dynamics And Flock Patterns / Murmurations, Both In The Natural World And In Human Society. The Movements Which Affect The World At Large Through Cultural And Political Shifts. "like The First Starling That Causes A Wave In A Murmuration," Ian Explains "we Are Really Interested In How This Is Also Reflected In Human Society - A New Idea Appears And Then Reaches Critical Mass And Resonates Through Society As A Whole, And Change Happens (positive Or Negative)."

The Rich And Deep Work Of Época Finds The Duo Reinvigorated From Their Hiatus, Using Their Own Voices Extensively For The First Time, Alongsides Regular Vocal Collaborator Eileen Carpio. As Dara Explains "we Had Been Experimenting With Our Own Voices In Our Solo Music, So It Felt Like This Was The Moment To Step Out From Behind The Curtain And Put Our Own Vocals Front And Centre In A More Natural Way". This Leads To An At Times More Melodic And Poppier Feeling, Balanced Out By The Off Kilter Rhythms And Blasts Of Feedback And Weathered Reverbs That Intertwine Throughout The Record. 

Once Again The Duo Look To The Outside World For Sonic Inspiration. Alongside The Use Of Physical Modelling Synths The Album Contains Recordings And Samples Of Violin, Guitar And Bodhrán, The Stringboard Of A Piano At Ems Stockholm, Phone Recordings Of Family Gatherings In Dublin And 1970's Dance Music From Jaipur. 
  
'época' Is A Rich, Challenging Album Of Diverse And Intense Soundscapes That Expands On The Scope Of Lakker's Already Multifaceted Music That Finds Them At The Peak Of Their Artistic Powers.

'we Are Living Through Volatile Times, And As Musicians It Is Impossible To Avoid That Being Reflected In Our Work. Época Is A Our Personal Response To The Atmosphere Of These Times And The External Political And Cultural Events That Are Shaping Our World. Some Positive And Hopeful, Some Despondent And Angry, And Some Reflective And Introspective.' 

FLOAT proudly welcomes their second artist into the fold. UK electronic artistand Szun Waves band member Luke Abbott, presents a special 10-track album tocelebrate Piano Day 2019 - an international event series initiated by NilsFrahm which acts as a platform for piano-related projects. 'Music From The Edge Of An Island' sees Abbott divert from his typicallyexperimental electronic style to explore a more compositional approach centredaround VST instruments. Rather than the usual themes of synthesis andimprovisation, the album is lead by piano motifs, structured around emotivemelodies and sparkling arrangements. The record began as a part of asoundtrack commission by producer / actor Jessica Hynes for her film 'TheFight' and ultimately became a fully-realised album. The film script had acoastal setting that created the record's thematic idea: "I had this ideaabout being on the edge of England, almost ready to fall off a cliff into thesea but keeping your balance on the edge." The idea of writing for the piano had been ruminating for some months asAbbott found himself spending an increasing amount of time playing on theinstrument. Without a piano of his own though, he found a strangely enchantingway to fulfil his creative impulse. "I used to have an upright piano, but I'dgiven it away when I last moved house, so I ended up using a piano VST in thecomputer, which I actually really enjoyed. Writing the music became a bit of aweird fantasy process, I was in an odd headspace for a few days." The writing process was remarkably quick, resulting in simple yet inspiredpieces that subtly blur the lines between MIDI computer music and liveperformance. 'Music From The Edge Of An Island' can be seen as a collection ofgentle reveries that sway between the twilight hours, marked by moments ofsoft, contemplative ballads and more active and expansive motions. Openingtrack 'Sea' begins with a mysterious piano waltz before unnerving synth dronestake over. 'Island continues with piano triplet figures plus addedorchestration of cello strokes and airy glass pads, before heading into themelancholic 'Tree', bringing in more strings and added pathos heard in therestless piano motif. Quieter passages are contrasted with the Gamelan-esque'Moments' and the uplifting 'On Rope', whilst more lyrical moments on thealbum can be found in tracks such as 'Adjustment' and closing track 'ADifferent Tree'.

- 180 GRAM AUDIOPHILE VINYL
- INSERT
- LIMITED EDITION OF 1000 NUMBERED COPIES ON ORANGE VINYL

Before Ministry created their influential breakthrough album, The Land of Rape and Honey, there was Twitch. Originally released in 1986, their second album Twitch stepped away from the Pop-oriented form of their debut album With Sympathy and moved toward a darker, more aggressive sound in the form of the EBM genre. On this album founder and front man Jourgensen was granted more artistic control over the production, for which he mostly performed solo. Although the album doesn't sound like any of the other Ministry albums, listeners may hear how the band came of age. Twitch sold well, but was still considered to be 'underground'. The only single from the album was 'Over The Shoulder'.

Twitch is available as a limited edition of 1000 numbered copies on orange vinyl.

Morgan Wright is a producer from Melbourne. His work places emphasis on introspection as it functions both on and off the dance floor. Wright bends sound around familiar club tropes to evoke an emotive response in the listener. The interplay of aggression and emotion, especially apparent in his live set, hints at a thread between his debut solo 12' and his time as a member of established

Australian hardcore band Imprisoned. Coburg features a flipside remix from DJ Zozi aka D. Tiffany (Planet Euphorique, Pacific Rhythm).

Sink into ESO002, the debut EP from Canadian life collaborators Mutually Feeling (Ariana Molly and Pulsum). Produced across multiple continents, ESO002 is a truly international affair. Mutually Feeling have provided us with 5 tracks of gorgeous, sensual electro and ambient music. If you're longing for someone or something, this is the record to yearn to.

Each track of Oberst & Buchner's debut album "Sfumato" is rich with anticipation and residue - it feels like being taken on a very controlled journey through space and time by another life form. The two friends and musicians from Vienna and Berlin shift themes and melodies gradually into one another, producing billowing pieces of music with soft and foggy outlines. Just like you can get lost in the perfection of a single brush stroke in a renaissance painting from up close, if you step away you can't help but admire the planning, skill and instinct coming together in this album and every single track. The two producers almost seem to make use of the sounds that are not there, triggering our expectations and creating premonitions in our minds.

The complex sound patterns are frequently juxtaposed by simple, almost naive melodies that make everything feel innately known but alien at the same time. On "Eye Liquor" the feature guest Tobias Koett brings just the right amount of fragility and humanity to offset the moodily awakening fantastic sonic beast beneath. With analogue sounds the two celebrate the past and the future, creating murmuring, breathing streams of consciousness. We couldn't be more excited to see where the travels lead.

- 180 GRAM AUDIOPHILE VINYL
- PVC PROTECTIVE SLEEVE
- MIKE OLDFIELD'S TUBULAR BELLS IS INSPIRED
BY THIS ALBUM
- FEATURED IN GRAND THEFT AUTO IV ON THE
RADIO STATION 'THE JOURNEY.'
- 50TH ANNIVERSARY LIMITED EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT VINYL

Keyboard virtuoso Terry Riley started experimenting with different instruments in the '50s. One of his electronic music landmarks is his third album A Rainbow in Curved Air. Through the use of overdubbing, he recorded all the instruments to feature on the title track. The composition consists of three movements, each representing another part of his musical influences. As the song progresses, its structure goes through frequent changes. It's an colorful, psychedelic, atmospheric and revolutionary song. The second track consists of a loop of saxophones and is the dreamy and calm opposite of the title track. Fans of electronic music, such as Tangerine Dream and Klaus Schulze, would love this record. Taking inspiration from Hindustani classical music and jazz techniques, Riley's masterpiece influenced many musicians, from the likes of Brian Eno to Emeralds.

A Rainbow in Curved Air 50th anniversary limited edition is available as 500 individually numbered copies on transparent vinyl.

Keyboard virtuoso Terry Riley started experimenting with different instruments in the ‘50s. One of his electronic music landmarks
is his third album A Rainbow in Curved Air. Through the use of overdubbing, he recorded all the instruments to feature on the title track. The composition consists of three movements, each representing another part of his musical influences. As the song progresses, its structure goes through frequent changes. It’s a colorful,
psychedelic, atmospheric and revolutionary song. The second track consists of a loop of saxophones and is the dreamy and calm opposite of the title track. Fans of electronic music, such as Tangerine Dream and Klaus Schulze, would love this record.
Taking inspiration from Hindustani classical music and jazz techniques, Riley’s masterpiece
influenced many musicians, from the likes of Brian Eno to Emeralds.

A Rainbow in Curved Air is available as a limited edition of 750 numbered copies on translucent yellow coloured vinyl

Vort's debut EP on E-Beamz straddles finely between the Electro/Jungle spectrum. 50 Yen is a atmospheric electro track that could be direct from a 1980s SciFi film, whilst Silverlight leans more on the melodic side of breakbeat electro. Rainfall is pure euphoric jungle rave (all about the second drop) and Tulip is a lushful electro/jungle mix that perfectly concludes the diverse textures from the EP

serenitatem, the fifteenth installment of FRKWYS, RVNG Intl.'s collaboration series pairing intergenerational artists in creative conversation, joins Visible Cloaks with Yoshio Ojima and Satsuki Shibano, two trailblazers of the Japanese avantgarde music and visual arts scenes of the 1980s and 90s.

Yoshio Ojima began his career as a composer of environmental and ambient music, with a particular interest, and optimism, in the possibilities of generative software. His compositional pursuit of human synthesis with computerized forms was realized in its fullest potential alongside Satsuki Shibano, a pianist renowned for her interpretations of Erik Satie and Claude Debussy. Together, they were among a handful of influential Japanese artists whose innovations still resonate, if not more vibrantly than ever, well beyond the tightly-knit scene's original core. In the early 90s, Ojima was among the programmers of the influential satellite radio experiment St. Giga, a constantly-evolving sonic landscape that combined field recordings and sound collage with occasional readings of Japanese poetry. Satsuki was a regular reader for the station. This musical terrarium bloomed out of sight in a small Tokyo studio, a greenhouse of sound with no set start or finish time that audiences could tune into, absorb, and immerse.

The perpetual flow state of St. Giga — recordings of which Ojima shared with Visible Cloaks — would be highly influential to serenitatem's constitution. As Visible Cloaks, the Portland, Oregon duo of Spencer Doran and Ryan Carlile have developed their own set of creative strategies that form an aesthetic fuse point between human intention, aleatoric composition, and improvisation.

These are notions most recently reflected in 2017's Reassemblage and Lex, a respective album and EP in which the duo combined generative software and virtual representations of global instruments into lacy, interlocking patterns. Long time admirers of Ojima's work on albums like 1988's Une Collection Des Chainons, Doran and Carlile discovered after an online introduction that they shared with Yoshio and Satsuki an abiding interest in pre-classical composers, the Lovely Music, Ltd. label, and the British avant-garde, as well as a mutual respect for one another's techniques and processes.

The four musicians met in Tokyo, Japan at Sounduno Studios in December 2017, at the tail end of Visible Cloaks' first Japanese tour, to commence work on serenitatem. Leading up to the studio sessions, Doran and Carlile sent Ojima processed sound sketches recorded while on a European tour, which Yoshio would add to and return. Visible Cloaks would then fold Yoshio's edits back into the original compositions, which Doran and Carlile brought to the exploratory recording session. During that week together in Tokyo, the quartet made use of a number of creative strategies — 'echoing sound together,' as Yoshio puts it. Among the strategies, MIDI randomization gave the quartet melodic lines and what Doran calls 'randomized clouds,' or 'tightly grouped notes that become smeared tonal clusters functioning more like chords in themselves.' Carlile would also feed Ojima and Satsuki's text into Wotja, a generative music software which produced a MIDI language around which the quartet expanded their compositions.

'The aim,' Doran says of serenitatem, 'was to make a work that was not specifically ambient (or environmental), but something more multi-hued, weaving these deconstructive concepts into an album that has a deeper architecture underpinning it.' Accordingly, serenitatem is a marvelously sharp record, its sutures between human and machine virtually impossible to find but suggested everywhere you turn. The collaboration among Ojima, Satsuki, and Visible Cloaks is both musically and conceptually inseparable from the technology that made it possible. Throughout the album, Shibano's playing resonates like Satie's, her rhythms cascading like drops from leaves an hour after the rain. Overtones are stretched and warped like modeling clay, then spun around and shown off from multiple angles.

A single soaring note might seem to be suddenly plunged underwater, its richness of sound made shallow and its sharp edges blunted. Pittering chimes and rapidly warping vocal samples hang in the luxuriously glossy space, water trickles from ear-toear, familiar melodies rise from nothing and dissolve before they can be traced. With the depth of its emotional charge, serenitatem burns away the easy cynicism of the day, presenting itself as the kind of delocalized work of art the internet promised us decades ago — a synthesis of artistic visions, technological sophistication, futurist ambition, and, occasionally, ancient polyphony. Listening to it can feel a bit like tuning in to a 21st Century version of St. Giga: It's a place where the future still grows.

Visible Cloaks, Yoshio Ojima, and Satsuki Shibano's serenitatem, FRKWYS Vol. 15, will be available across LP, CD, and digital formats on April 5, 2019. The quartet will perform select live shows throughout 2019.

Initially created as a soundpiece for a group exhibition, this meditation on, according to Broshuda himself 'Self help / depression, universal painful truths and memory via twitter bot content' - peruses quotes snatched from text-to-speech conversion taken from a selection of twitter bots that offer automated emotional services to those in need of some reassurance and motivation in times of depression or doubt. To many, a perplexing scenario in itself... But no doubt one that we are becoming more and more accustomed to in the age of hyper-connectivity, and frequent reliance on technology.

Broshuda's 'You'll Always Stay Beautiful' certainly raises thoughts and questions about the way our society is headed, but as the NoCorner press release aptly puts it - 'rather than an obvious criticism, 'You'll Always Stay Beautiful' lets the listener indulge in which ever way they feel. Placing the all familiar, and ultimately still very human commentary in a light-headed tangle of computerised harmony, melody and abstract rhythm...'

You'll Always Stay Beautiful points out the absurdities of such automated emotional help facilities in our social age, but also remembers the beautiful fragilities that make up the human mind, which is always in search of strength and reassurance, and ultimately - love.

Aside from the guiding voice, what makes this 33min excursion so intriguing is Broshuda's deft use of abstract sound-forgery and manipulation... No matter how eschewed, there's often an underlying sweetness in tone & style, a very colourful, unique approach to sound and melody, amalgamating in something which is as close to oblique sound-art, as it is to his self-coined 'glambient' or 'mindgaze' styles... In other words, a style totally his own.

Edition of 75, gold cassettes + dl code.
Served with A3 risoprint poster design by Broshuda, vacuum-sealed.
Inlay artwork by William Binta.
Design & layout by Broshuda & Studio Tape-Echo.

We could do some name-dropping similes about Drexciyan re vessels or talk about robots in love and what not. Or we cut right to the chase: six sublime Electro/Breaks tracks about oxygen.

Label fresh outta Glasgow. First release showcases a single sided journey into the heart of it's originator. With the track rolling around the city's underground for too long- its now time to introduce Watermelon Records and it's head honcho, DD Watermelon.

'Producer and multi-instrumentalist FRNT BZNZZ returns with the second installment in a six-part series of 45s from the Aloha State.

Just like the rst 45, the A-side 'Separation Anxiety' takes to the same raw electro boogie feel, this time with more layers. The 4-minute ride into the artist's complex, often haunting production is up before you know it.

The B-side opens new doors in the series with vocals - angsty, yearning, a little somber. 'Always Wanted' is a slow burner for those looking to alleviate heavy doses of straight-laced modern funk. Something about Aiea High School prom circa 1990s, and a feeling of being left out.'

Útil Records Barcelona was born in January 2018 with the 12" vinyl edition of Vema Diodes's Dark ambition . This label intends to continue with the task of spreading electro music, a task
that Spy dj and Vema Diodes have been carrying out for over 15 years. Their second release has just come out and it consists of 6 tracks by Dark Vektor, Alex Martin , N-ter, Vema
Diodes, The Bandit and Honexters. This album is loaded with industrial and technoid features, blunt bass, sharp melodies, torn distortions and reminiscences of Detroit, seasoned
with the sound of the TR 808. This album represents one more step in the consolidation
process of the label.