Beats Vinyl New Releases - News

"Mano LP" a vinyl picture disc, comes in Gatefold sleeve (made of recycled material) with a CD, 16 pages photo album + hand numbered certificate. Limited to 300 copies

IJO is Lithuania music producer that has been making music for over 15 years. Mano LP is a showcase of his many musical faces and tastes. From Ambient to Jazz to Jungle. An emotional and mathematical rollercoaster

Orbital 002 Hot off the heels of their successful first release 'Opposite Visions', Orbital London make a second statement with 'Coopers Dubz EP'. Sidewinding in on the A side is label front man, Jack Michael. 'Never Said That' is a familiar sound we have come to expect from the young talent, warm, and born to be heard loud. A bit lighter on its feet, with a definite spring in its step is fellow UK artist Harry Wills' interpretation of 'Never Said That'. Juicy by name, and juicy by nature. Kicking off the B side with a 'Clout' is Wills again, with a much darker outlook. A tight garage groove that packs a punch. Returning the remix favour is 'Jack's Dusty Mix', a mysterious and pacey affair to round off the Dubz. A four track release, fulfilling all of your bassline requirements. Big up Cooper.

Partners is a collaborative project between Femke Fredrix and James de Graef. Brought together by a keen interest for the ever-evolving marriage between electronic
music and visual arts, they decided to combine their strengths to realize a shared vision. Or as they call it themselves: 'providing a suitable backdrop for spastic movement'. Partners' debut project is some form of hybrid as it searches to balance between being a
film and an album. The inspiration for this collaborative effort started from their cat carrying the same name as the title of the album: 'faust'. While you can listen to
the music without watching the film, the whole production process of both was completely intertwined.
Faust tries to reflect upon how we as humans perceive, treat and care for animals. From common domesticated animals through plush teddies to cattle, we have almost daily interactions with all of them. Faust tries to question how we interact with these
creatures and how we treat one animal different from the other. Without treading into the ever-stereotyped world of vegan activism, this project raises interesting questions on our
daily interactions with the other souls inhabiting this earth. Working on this serious matter, Partners never lose sight of their quirky sense of humor, both through their
usage of samples and in the employment of bizarre little scenes.
Their music often draws many influences from the hardcore continuum defined by Simon Reynolds whilst still treading beyond the harshness of many club tracks and showing a
more soft and gentle side. They vary between genresdepending on what they want to tell. If you listen to the album on its own, it almost feels like the rough cut of a film, without losing any consistency. Expect to hear anything between trip hop and hardcore breaks.
Montage:
MONTAGE (French for the editing process of a film) is a Brussels based label/collective.
Inspired by the editing process of documentary film, in which you have to make both
bold and sensitive choices, we aim to release a wide variety of music that feels 'edited',
that tells a story. Drifting in and out of the wide spectrum club culture has to offer; edited
music brings emotion and ecstasy both to the dance floor and your living room.

After the praise for Morning Worship, released back in 2015 on Royal Oak, Portuguese duo Sabre returns to releases with the EP "Fora de Turf", pointing directly towards the dance floor. There is in "Fora de Turf" a certain idea of transient existence as a series of car journeys cruising the night with no clear sense of direction, recalling the gradual disappearance of public space and loss of community. The weight of Kraut references such as Kraftwerk's Autobahn or Stratosfear by Tangerine Dream is somehow clear in its alignment with a 1995 Carl Craig who had just released Landcruising

On the A side, 'Condor Sense' and 'Sem Terra'. The first one is a banger built around broken beats and repetitive synth chords that guide us through the drone landscapes on the background, very clearly marked by the 808's rhythms. The second one is anchored in a broken kick and on a growing acid line, punctuated by warm chords and some sliced pads that reminds us of the pulsating heart of the city of Detroit.

On the B side, "Condor Senses" and "Driving Bruno" got some sort of a gliding character. "Condor Senses" is the only track on the EP to accept the classic four-on-the-floor to guide some dubby chords along a quieter landscape where organic and natural sounds lurk. Is it dawn arriving No. On the last track of the album, "Driving Bruno," Sabre get in the car and step on the throttle, full speed, on a bassline that could resemble some synthwave releases if synthwave had been lucky enough to be born a decade earlier and in the center of the state of Michigan.

Second vinyl release from the Berlin based Jazz-O-Tech Records.
* Jazz-O-Tech is proud to announce the second chapter of its limited edition vinyl release "White Gardenia": a format that combines deep tech electronic grooves with the mystic, intense and intricate atmospheres of jazz music.
* The A side of the compilation starts with "Eshe" a track by the dutch producer Duke Zilla, a perfect opener for the vinyl with its funky, dreamy, and tribadelic vibes, followed by "Modal Miles" by the Italian trumpet player Cesare Dell'Anna (remixed by DN3), a cool deep tech track full of smoky jazz quotes of the almighty Miles Davis himself. "Dick Dunker" by the Berlin Based duo Flat Maze closes the first half, and it's a great example of what we call Techno-Jazz the perfect mix between cutting hedge techno sounds and experimental jazz piano.
* The B side is meditative and musically very dense, with the talented duo of newcomers Key Clef on synths and Riccardo Nebbiosi on sax presenting 'Angel Walk to the Sea' a beautiful trip into a poetic and progressive territory, which smoothly leads to the intricate and experimental fluid jazz grooves of "Story telling" by the Italian electronic jazz band Gamapawa, which closes the compilation.
* Jazz-O-Tech is a record label based in Berlin and Milan which has the ambition of creating a new music movement that merges Techno with Jazz, tradition with modernity, improvisation and experimentation, and takes the listeners on an emotional, futuristic and intense musical journey.

William Basinski samples two massive black holes on new album On Time Out of Time !

The new studio album from one of the world's most celebrated sound artists. Vinyl format features exclusive mixes that differ from the CD and Digital formats. 'At its best, William Basinski's music inspires the sort of rapturous testimony usually reserved for peak experiences, cult leaders and the dead.' - Pitchfork // 'Basinski has proven remarkably capable at existing far outside of his own legacy, his uncanny ability to wring entire worlds from his famously deep tape archives proving more remarkable with each subsequent release.' - Magnet // On Time Out of Time is a suite of works originally commissioned for the 2017 installations 'ER=EPR' and 'Orbihedron' by artists Evelina Domnitch and Dmitry Gelfand (in collaboration with Jean-Marc Chomaz and LIGO) for the exhibition, 'Limits of Knowing' at Martin-Gropius-Bau, Berlin by curator, Isabel de Sena. These works utilize, among other things, exclusive source recordings from the interferometers of LIGO (Laser Interferometer Gravitational-Wave Observatory) capturing the sounds of the merging of two distant massive black holes, 1.3 billion years ago. The CD and Digital formats feature two tracks: The 40-minute title track, 'On Time Out of Time,' as well as '4(E+D)4(ER+EPR)', a live track recorded during the aforementioned installation. The vinyl LP format features two exclusive mixes of the title track: 'On Time Out of Time' on the a-side; and 'On Time Out of Time (The Lovers)' on the b-side, made especially for the vinyl format.

On March 29, Eric Copeland delivers Trogg Modal Vol. 2, the counterpart to last October's Vol. 1. The former Black Dice member's 'Freakbeat 4/4' agenda gets further refined here - Vol. 2 is more laid-back than the first, but still highly danceable. Self-described as 'late Night Flight proto tekno,' the tracks pulse with thick layers of percussion, melodic fever dreams, and riffs wrung through a taffy puller. Eric's textured, off-the-cuff approach to dance music adds a refreshing element of spontaneity and 'jamming' to a climate of uncanny smoothness and polish.

Where Vol. 1 was composed of 'rippers,' Vol. 2 travels at its own pace, continuing to showcase Eric's ability to recontextualize 4/4 tracks as psychedelic contortions, from the squelchy vibrations of 'BS Dropout' to the blithe, video arcade soundtrack 'High Score Zed.' Taken together, the two volumes of Trogg Modal showcase the versatility of one of the most continuously exciting experimental artists of the past twenty years - arriving in 2019 with his mischievous sense of adventure firmly intact.

+++ Available in a non-specified number of copies, these releases are hand-cut on vinyl by the label itself.

Transparent vinyls with a center white silk screen design and hand stamped catalogue number.

External cover designed by Regno Maggiore in white silk-screen print on die-cut black paperboard.

Internal sleeve with an illustrated poetry by Regno Maggiore, tracklist and info +++

Written and recorded in 2018 during and after a nomadic travel in the open air, Astroveliero is the debut ep of Regno Maggiore and an introspective journey inside h** beliefs and experiences.

Across 6 free-flow tracks, the artist has created a world of multi- layered textured details and organic instruments, blended with a fine tune work of sound engineering.

Astroveliero joins together different musical influences as well as world cultures, with a result that could be assimilated to the fourth world tradition.

The ep spans from the quasi- krautock ambient composition in Oracolo to percussive songs like La Danza di Sabasaa and Selva Oscura, balancing haunting atmospheres and benign forces, drawing modern anxiety, spiritual raises and dreamlike visions.

With just a quick appearance on the recent compilation Paradisia V, out on Gang of Ducks as well, Regno Maggiore is creating a new bold world around h**, and we just can't wait to listen more.

After a pleasing start to the New Year, 2 same night sell outs on lathe cut 45s and a single afternoon sell out of the recent Gabe Knox LP, Polytechnic Youth continue their relentless release schedule with 2 more awesome full lengths. In their own ways, both totally unique but very much befitting the tried and trusted synth / electronic PY blueprint.

First up is the fabulous 'Where comes the Dark' debut full length from shadowy, underground producer The Slow Engineer. 'An album of sculpted synthsonics and Eldritch electronics originally released on a limited run, blink and you'll miss it cassette which sold out in 24 hrs. Heavy on basslines, with driving rhythms and tweaked synthesisers, it's a record which openly acknowledges it's nod to horror scores and the work of the Radiophonic Workshop whilst pulling off something uniquely and freshly new, with an assembled array of wayward equipment stored at his Analogue Hades base.'

British horror actor Laurence R. Harvey adds suitably menacing narration in places, and across 10 fabulous tracks this is a richly, deliciously diverse electronic record which comes hugely recommended to fans of John Carpenter, not to mention label mates The Heartwood Institute and Dream Division.

A one time pressing of 300, destined to sell out pretty swiftly.....

Liška, the Czechoslovakian word for fox. Beguiling in its beauty, cunning in it's charm. Said to be one of the most intelligent animals on the planet its global family consists of thirty-seven varieties; all of them recognised, respected and feared for their persuasive, creative, resourceful and elusive nature. The Liška we will talk about today is no exception to these hereditary rules and within the grooves of this record Finders Keepers present an 'elusive' musical artefact that best exemplifies every facet of this composer's animal namesake.

Had he not been born in the small Bohemian town of Smecno in the early 1920s the story of The Fantastic Mr. Liška might have well taken a different course. Alternatively, fettered by the hampers of communism, this lifelong resident of Czechoslovakia would never quite find his seat at the same table as the likes of John Barry, Ennio Morricone, Michael Nyman and Stanley Myers, nor drop enough phonographic breadcrumbs to track his legacy. But having waited patiently behind the borders of the wider landscapes of international cinema, Liška's musical brood, spanning multiple stylistic decades and generations, has now started to walk proudly amongst his would-be, latter-day compeers. In an era where music lovers have almost become immune to adjectives like 'lost', 'rare' and 'unreleased' in a climate where previously lesser-known off-kilter master composers such as Vannier, Kirchin and Axelrod have become widely revered, it is perhaps the perfect time for discerning listeners to advance above the feeding trough and seek out this truly pioneering and revolutionary Eastern European composer. Rivalled only by the likes of Krzysztof Komeda and Andrzej Korzynski in Poland, alongside Alexandr Gradsky in Russia, and often splitting workloads with fellow Czech composers like Luboš Fišer, Zdenek Liska's filmography of over almost 300 fully formed movie scores virtually eclipses the achievements of these socialist era luminaries. Respected unanimously in both Czech and Slovakian by studio bosses, producers, directors and actors alike Liška is widely known for his ability to take the existing energy in a reel of film and literally change the polarity to suit his own interpretation while maintaining the full support from his 'client' who would in-turn end up working under this composer's creative direction. Not only was Liška a genius of emotive orchestral and coral composition, his grasp on small group arrangements and intimate, minimal scores set him above the competition. By utilising primitive sample techniques by 'looping' a films existing ambient noise, or rearranging found sounds and dialog into subtle melodic arrangements, Liška would independently develop his own techniques which had simultaneously become known in Paris as musique concre`te. It is a direct extension of these experiments that saw Liška also draw parallels with Walter Branchi (Ennio Morricone's main electronic sidekick) in Italy as well as Daphne Oram in the UK, making Liška a relatively untravelled pioneer of early electronic composition and sound design due to his unlikely global environment. Imprisoned, preserved or reserved; time has been kind to Liška's music.

The Idealist has a lifelong background in out there electronic music and has been suffering just as long from a deep dub passion, which has been present in his works with outfits as Saturn and the Sun, The Skull Defekts, Orchestra of Constant Distress, and numerous collabs. But the dub has never been in full focus. Not until now. Two cuts recorded at the Gothenburg Sound Experiment; "Inner Space Dub" which is a sick, capturing thing and the flipside, "The Fire of Moses Dub" which features vocal by the legendary Genesis Breyer P-Orridge of Psychic TV and Throbbing Gristle. Dub music as close to the late 70's industrial music scene as classic Jamaican stuff which the Idealist loves to the bone. Passionate, honest music which pays tribute to its influences but also succeeds to look forward into the eternal future.

After releasing three powerful edits of Fly Free in November 2017, Jon Dixon is back with a new Sampa EP. Inspired by the strong culture and rhythmic grooves of Sao Paulo Brazil, Dixon delivers 4 tracks sure to be a tool for any DJ. With the title track 'Paulista Avenue' already in the rotation of Derrick May, Radio Slave, and Gilles Peterson.

Welcome to a time of global sousvelliance and psychophysical burnout _
Welcome to an inconsistent present that calls for schizophrenic rhythms and mutable harmonies _
Welcome to a future that doesn't need you anymore _
Welcome to your world _
Welcome to End2End _

Gimpmask wriggled out of the London sewer system to present his take on the current state of the social inadequacies in Britain today. From the poorly conceived Brexit vote to the injustice of homelessness and the countries drug epidemic. His gritty music conveys a certain sadness with its heart wrenching melodies enhanced by vague and distant vocals backed by simple yet solid grooves that serve to deliver a pure urban cinematic experience. Imagine if Banksy made music!

Jung an Tagen is practicing sonic animism on a molecular level. With 'Agent im Objekt' he confronts us once more with a form of highly abstracted electronic music - puristic clubsounds for an accelerated future.

Kicking off with an accumulation of high-pitched, psychoactive sounds, 'Agent im Objekt' takes us into a hyperreal sphere reigned by sonic entities. Playing with swarm-dynamics and singular signals, moments of distance and proximity and noise textures that stimulate our perception, Jung An Tagen transgresses the common syntax of clubmusic. His strategies resemble computer music composition and focus on timbre, texture and structure in an almost analytical way. The sounds filtered from his synthesizer are polished and bright, but behave in an astonishingly organic way, forming propulsive melodic sketches. Arranged in multiple layers of versatile polyrhythms, the tracks are nurtured by the forceful dialectics of precisely arranged chaos and ecstatic order.

With his titles, Jung An Tagen is further adding an enigmatic narrative to his tracks, transcending the actual sphere of the dancefloor towards fictional storytelling. Following the structure of a one-sided chatlog, they evoke associations from the X-file series or mystery novels, revealing a brainteaser that is drawn from mysterious coordinates and secret codes.

In addition the official video "20:03 (Y) HOW IS THAT POSSIBLE" underlines Jung An Tagen's interdisciplinary interest in synaesthetic processes. Developed in collaboration with the programmers JeongHo Park and Scott Sinclair the video visualizes particle explosion data from CERN - the European Organization for Nuclear Research. Inspired by Peter Kubelkas 'Arnulf Rainer', the resulting geometric figures are exposed to a 'complimentary stroboscope' that glitches your receptors and stimulate your brainwaves with photo- and EEG-stimulation close to seizure, inducing a hallucinative reality.

'Agent im Objekt' is playful but analytical, uplifting but mentally disturbed. While the dynamic use of reoccuring motives forces your body to move, cerebral timbres provoke a series of stimuli to massage your brain. It is intellectual body music that might mark a poetic turn in progressive dance music.

In celebration of Bold Monday's 10th anniversary we invited two of our favourite artists, Le Cliche (Gerard Ryan residing in Barcelona) and Colophon (Bas van Vuurde hailing from Haarlem) to compose six exclusive tracks. We are releasing those tracks as a special limited edition EP on vinyl.

Design of the outer and inner sleeve is by London based MuirMcNeil. We are longtime admirers of their work and were thrilled when Paul and Hamish agreed to design the artwork for this project. Final mastering was handled by Marco Spaventi in Amsterdam. The resulting digital audio files have been pressed on 140gr vinyl by Record Industry in Haarlem.

The tracks on this EP can be categorised as contemporary electronic music with a clear nod to its roots, while both artists opted for a different emphasis as well. Le Cliche composed the tracks Francophilia, Ergophobia and Chorophilia inspired by experimental postpunk and early synth pop. Colophon on the other side created Monospace and Methods of Synchronism referencing the more dance-oriented styles from 1980's New York and Detroit, with the track 574 Mondays serving as an ambient interlude.

Molten Penguin is young project bringing together top instrumentalists from Ghent's experimental jazz/fusion/crossover-scene who profess their love for electronic music: Pieter Claus (Sinister Sister) on vibra, Dries Geusens (Nordmann) on bass, Jan Ghesquière (Sinister Sister) on guitar and Jonathan Callens (Imagine Raymond, Wasdaman) on drums.

Inspired by jazz, hiphop, drum&bass, Hudson Mohawke's boiler room sessions, the abstract electronic worlds of Aphex Twin and Amon Tobin, and anything even remotely oblique or askew, Molten Penguin is one of the select few bands who succeed in performing electronic music live in a ballsy way. Fired up by Pieter Claus' alien-sounding compositions and with the proper injection of high-tension improvisation, they give music a solid ass-kicking.

Highly danceable tracks 'Just Off' and 'Mad Spider' are just the perfect soundtrack for a club night, while musical highlights 'Yester Mo' and 'Spooky' really show off the band's composition, playing and sound bending skills.

Just before Maceo Plex's Ellum Audio label reaches its half century, the influential outlet serves up a standout EP from fast rising talent Fred Lenix.

Iago Frederici is a young Brazilian music producer who merges new era electronic melodies with his unique perspective of Latin American and Turkish cultures. Always expressing himself well, he is a regular face in Sao Paolo who is driving the thriving local scene forwards, and this new EP is sure to win him plenty of new fans across Europe.

It kicks off with 'The Rails', a bristling tech track that is run through with wiry synths and frosty filters. It's cold and austere and perfect to shake up a big warehouse space with a real sense of futuristic drama.

Next comes 'Manipulated Dead', an excellent electro tinged number that builds the suspense with some edgy drum work and rumbling synths. A sense of cosmic ambiance lights up the background and make this a track with real feeling.

The slick electro bomb 'Manipulated Living' closes things out with excellent drum programming and taught kicks. The slippery synths bring real fluidity to the grooves and some distant pads enrich the whole thing with a sense of real serenity.

These are three fantastic tracks from a producer who is all set to blow up.

Following on from last year's releases by Neue Grafik and Selectors Assemble, CoOp Presents step into 2019 with a new 4-track EP courtesy of Oliver Night; a DJ, producer & singer born and raised in North London.

In addition to joining the Selectors Assemble family recently, Oliver is a member and producer of Roots Manuva's Banana Klan. He established himself as a DJ some 15 years ago, and has since played across the capital, from the Tate Modern to Boiler Room. His music has been supported in the past by the likes of Tony Humphries, Kerri Chandler & Seth Troxler,

This four-tracker illustrates Oliver's diverse range of influences, from the initial inspiration of his Jamaican uncle, musician Hughie Izachaar (who worked with Lee Scratch Perry & others), through to his passion for London's broken beat movement. Oliver's sound epitomises tru-skool UK sound-system ethics; grounded in reggae and dub production sensibilities, whilst built solidly for the bruk and house music dances of today.

The set kicks off with title track, 'Make Believe', featuring the powerhouse vocals of BB.JAMES aka Bethany Barnett Bywater, who's had previous releases with EVM128, Spoek Mathambo and Waze & Odyssey. London-based singer BB is a talent to watch in her own right, as proven on this monster of a track, which has all the ingredients to crossover & damage dancefloors underground and over. Sassy soulful vocals ride a woofer-shattering b-line and synth stabs with devastating effect - a sureshot future anthem.

Next up is 'Swing For Life', an instrumental jazz-house affair, which features the talents of Vancouver-born trumpeter, Jay Phelps - a highly-prolific, highly-acclaimed musician in the jazz world, who found his base in the capital over a decade ago and has since worked with a veritable who's who of international jazz artists, including Courtney Pine, Wynton Marsalis, Amy Winehouse, Hugh Masakela & George Benson, to name a few.

Finally, the flipside brings with it two versions of the cut 'U Got To', remixed by Selectors Assemble family, Cengiz, and label founders IG Culture (fresh from receiving a 'Lifetime Achievement Award' at the 2019 Worldwide Awards) and Alex Phountzi (formerly of Bugz In The Attic) aka NameBrandSound, delivering more of their signature bassweight business. Oliver unleashes his own vocal talents on this track, deftly demonstrating a rich, soulful Omar-esque quality to his voice, and completing a truly heavyweight debut for the label.

This record is huge. Essential business, no BS. A truly firing start to the new year for CoOp Presents.

Limited vinyl & digital available on ********

I'd Rather Be Lucky Than Good is a new recording collaboration of Sam Ashley and Werner Durand. Sam Ashley's mystic parables mbued with benevolent humor are drawn from a lifelong pursuit of a present-day shamanism. Werner Durand's wind work on invented and traditional instruments stems from the minimalist tradition, routed through his unique study of obscure world musics.The two artists first met in Berlin in 1984 while Sam was touring Atalanta with Robert Ashley's opera company, with whom he was a principle vocalist for many years. Sam Ashley's work has appeared on other Unseen Worlds releases (J. Jasmine: My New Music) and in solo and collaborative performances alongside "Blue" Gene Tyranny and other artists across the world.Werner Durand, also active since the late Seventies, performs music for saxophones, Iranian ney, and self-made wind instruments. He is a linchpin figure in the experimental music scene in Germany and abroad following formative studies with Ariel Kalma and Gilbert Artman in Paris, Indian Classical Music with Kamalesh Maitra, and Iranian Ney with Ali Reza Asgharia. He has worked notably with David Behrman (Music From Memory), Arnold Dreyblatt (Animal Magnetism), Muslimgauze, Henning Christiansen, Catherine Christer Hennix, David Toop, and Amelia Cuni.

Some of the most beloved music comes from heartbreak and loss. This 5-track EP by Honey Soundsystem's Be´zier was recorded in a vacant apartment unit in his grandmother's ('Amah') property in Tainan, Taiwan. Having to make the 15+ hour journey from SF to Taiwan multiple times in 2018, Be´zier set up shop in Amah's house surrounded by his live touring setup, a microphone, and the memories of loved ones recently passed. Away from his San Francisco analogue synth-based studio, Robert Yang (aka Be´zier) manipulated samples of his own vocals and mobile mono synths to tell his stories about returning home, honoring ancestry, and embrace life's hardest challenges. The result is a deeply personal release with track titles named after landmarks surrounding Amah's building, and songs both short and long, free of genre and tempo restrictions.

Kreidler celebrate the 10th anniversary of their groundbreaking 2009 album, Mosaik 2014, with a remastered edition. The reissue of the record features an updated track list and is pressed onto 140g white vinyl.
Mosaik 2014 - that's how it is meant to sound. Arrangements that feel right, without me being able to map them out because all of the lines are woven together so intricately, and because the album was recorded mainly in a week of live sessions. Above all, this record has more. More rhythm, drums, percussion. More keyboards, better yet synthesizers that are immediate and cannot be turned away, sounds that demand something and yet retain great mystery. More off-kilter loops and more electrical storms. But it is all there to serve the same purpose: to make this the best Kreidler album of all Kreidler albums. There is a directness, and things come to the point while still leaving enough free space. There is longing, solace, fulfillment. In other words, big emotions.

KEY SELLING POINTS
- The best Kreidler album of all Kreidler albums
- 10th anniversary reissue
- Originally released 2009
- New mastering
- Updated track list
- Pressed onto 140g white vinyl
- Comes with printed inner sleeve

Brussels-based musician, photographer and lifeguard Roméo Poirier (aka Swim Platførm), makes sleek, subaqueous electro-acoustic music. His debut SURFACES EP was a soundtrack to four of Roméo's favourite swimming pools. These songs glide in and out of earshot, bustling like miniature engines, finely tuned and rhythmically confounding. They echo the factory sampling work of YMO on Technodelic: industrial but somehow good-natured, a symbiosis of machinery and wildlife - like an artificial reef or propeller blades smothered in algae. The gorgeous follow up tape, Plage Arrière, is an ode to eight Greek beaches. Poirier's palette here is vast: a swell of strings and electronics plunging fathoms deep amongst the clicks and whirrs of creatures unknown.

For his third record on Kit and first vinyl release, Kystwerk, Roméo joins forces with the poet Lars Haga Raavand, on a sonic expedition that traces the serrated coastline of Norway and the briny depths of the North Sea. Coastal field recordings intertwine with submerged electronics; discordant, Copland-esque brass emerges, like some menacing flotsam, and mesmerising tows of piano chords recall the disjointed harmonies of Jonny Greenwood or Murcof. Then, to cement the trance, Raavand lilts and enounces delicately, before he too is swallowed up.

Rua Sound Is Pleased To Announce We Are Back In Action For Of 2019, And A Welcome Return To The Label Of Touchy Subject, Coming In Fresh From His Aurora D Raynes Project With Dan Dans K In 2018.

Support From Tom Ravenscroft And Giles Peterson.

The Go-to Producers For Cosmic, Rootsy Takes On Up-tempo 160-170 Bass Music, Touchy Subject's Second Four-track 12" On Rua Ups The Ambition And Knocks It So Far Out Of The Park Its Broken Windows In The Next Parish Across.

The General Ep Veers Wildly Between Belligerent, Funky Takes On Dusty 90's Boom-bapàla Dj Shadow On "shudder" And 'turnt Up', Cavernous Soundsystem Workouts On "seek And Find", And The Febrile Halftime (just) Jungle (barely) Title-track "general" Bringing The Emotive Goosebump Vibes.

This Is Soundsystem Music Par Excellence, Cerebral, Heady, And Rousing.

We Apologise Profusely To Those Of You Whose Resolutions For 2019 Involved Losing Weight, But This Is Our Fattest Releases Yet.

'World Crime League vol I' is available on a small number of audio cassette
tapes.

Listeners will find inside 14 tracks of 1980s tinged synth and drum machine
workouts.

World Crime League hail from various locations around the world. They first
appeared in 2008 and have since spent time honing their approach. Their first
outing consists of three albums each composed and recorded in a day.

'World Crime League vol I' is the first of these recordings.

Auf seinem ersten Soloalbum spielte Bill Laurance jedes Instrument selbst ein. Im Mittelpunkt von
Cables steht Bills einzigartiges Klavierspiel, das auf acht brandneuen Tracks zu hören ist, die von
Electronica Elementen und subtilen Beats leben. Das Album wurde von zudem von Nic Hard Co
Produziert.

Random Numbers comes back with "Islands" EP by BXP.

An ecstatic recon through the meaning of isolation where field recording unfolds the ambient/techno sides of BXP's production. Born from nature, crafted in studio: techno meant for wide landscapes.

"Islands" is the result of a long search spent seeking sounds on various islands during his journey through south-east asia with a Tascam recorder and several directional microphones. He captured natural sounds from jungles, dunes, beaches and wild urban landscapes, not to mention the deep sounds of the Earth's elements: the sea, the wind, the interaction between man and nature.

From the heart of the strange, suburban environment known as the San Fernando Valley, a vast sprawl on the edge of Los Angeles, Scott Gilmore produces his own brand of seductive, beguiling and dreamy pop music.

This is how Scott describes what he does: 'I make music using synthesizers, drum machines, electric bass, and acoustic and electric guitars. I try to write music that is both beautiful and engaging. I enjoy writing many melodies,

harmonies and counter melodies into my compositions to develop a sense of forward motion. My main influences include Brian Eno, Cluster, Kraftwerk, Stereolab, Talking Heads, YMO, '70's and '80's Ethiopian Music, J.S. Bach,

and the out-takes from the Beach Boys' Smile Sessions.' (from an interview in Titel - Kultur Magazine) His first album 'Subtle Vertigo' elicited praise from the media. Comparisons to

sounds as diverse as those of Air, Stereolab, Italian film music from the '70s and to solitary eccentrics such as R. Stevie Moore and Captain Beefheart were drawn.

From the media reactions to Scott Gilmore's previous album: 'It takes its principal stylistic cues from Krautrock and library music; the album often sounds like Air's Moon Safari or Stereolab's Dots and Loops run through

a beat-up transistor radio that's been wrapped in cheesecloth.' - Pitchfork

'Light, melodious, somehow simultaneously of 'now' and plausibly a hitherto unheard relic from a bygone age.' - Vice

'A bedroom pop experimentalist. Dreamy.' - Stereogum

Destituent is Soles 7th solo studio album. Sole is a co-founder of the legendary anticon label, and last year as Vice noted, Sole is a pioneer of underground avant-garde rap. Destituent is an album about the innate

human capacity to solve problems and build new forms of life without the need for government and coercion. Musically this entirely self produced album is a departure from most of his

work, featuring heavy New Wave / No Wave influence, almost to the point of being poppy, but the subject matter ensures that it never could be. Walls of noise, upbeat drum breaks, swelling distorted synths, poetic streams of

consciousness and polyrhythmic rhyming styles. Anarchy, the call of the wild and the power of music.His work has been featured in Spin, C-Span, Democracy Now, Vice, 2 DopeBoyz,

The Intercept, Truthout, and countless other outlets. Sole proves that you can make thoughtful music that works in the headphones, on the dance floor, and on the barricades.

The hyper blaze of Jay Mitta's debut LP 'Tatizo Pesa' kicks off a trio of searing Singeli albums from the sound's ground zero - the Sisso Studios of the Mburahati ghetto, Dar Es Salaam, Tanzania. A breathtaking boost of 180bpm+ rhythms, syncopated loops and nagging hooks, 'Tatizo Pesa' notably introduces 14 year old MC sensation Dogo Janja alongside nine knockout instrumentals that make much western dance musics seem prissy and pedestrian.
Despatched by the acclaimed Nyege Nyege Tapes outta Kampala, Uganda; 'Tatizo Pesa' presents the raw, untrammelled energy of Tanzanian Singeli with immediate effect. Like his peers, Bamba Pana, DJ Balotelli, and DJ Longo, Jay Mitta combines traces of older, local folk melodies with elements of 'Bongo Flava', or up-to-the-minute Swahili rap music, but at breakneck tempos that give the sound its inexorable energy and verve. Their style takes traditional music into orbit of contemporary,
accelerated styles ranging from Grenedan Jab Jab/Soca to Chicago footwork, hardcore UK rave and
French flashcore Jay Mitta's debut offering renders the lushest, variegated spectrum of Singeli since the style emerged in its current form only a few years ago. On the one hand he plays up to pure rave needs with outright steamers such as 'Don Bet', and the ratchet tension of 'Mwakidimba', but they're balanced with hip hop swagger in the standout title tune featuring 13 year old Dogo Janja, and the deep south bounce-esque of 'Masera', while the mercurial quickstep of 'Dura' and 'Mchuma Bet' are bound to snag wider-eared ravers with their so-fast-they're-weightless string and key arrangements.
It's very hard to ignore that with 'Tatizo Pesa' Jay Mitta has produced a new and unmissable high-water mark of the ancient yet up-to-the-second East African music bound to translate directly to all willing bodies.

*Limted to 300 copies worldwide* It all began in summer 2017 when Peter Broderick's former Efterklang bandmate Rasmus Stolberg invited him to perform at his new festival in Denmark, with the specific idea that Peter would play an entire set of Arthur Russell songs. As a long-time lover of Arthur's work, Peter immediately accepted the invitation and began to learn a collection of Russell songs. Stolberg put together a band of Danish musicians to join Broderick on stage, and the festival performance went off without a hitch.

Immediately after, Peter starting receiving invitations from other festivals, asking for the same thing — a full set of Arthur Russell songs. Even Arthur's long-time partner Tom Lee took notice of these performances of Arthur's work, and reached out to Peter personally. It wasn't long before Broderick was invited to examine some of Russell's archival work, and asked to do audio restoration work on the old tapes.

Peter's strong love for Arthur's work grew exponentially as he dove into the psyche of his hero, listening to hours and hours of unreleased material. He discovered that some of his favorite Russell songs have yet to be heard by the masses, and felt inspired to learn some of these tunes himself.

It was inevitable that Peter would record an album of his own renditions of Arthur's songs. And there was no better place to do it than the state of Maine, where most of Arthur's surviving family are based, and where Broderick himself was born back in 1987. With a large cast of friends and family, including Arthur's niece Rachel Henry and nephew Beau Lisy, Peter set out to capture his love for Arthur's music with a diverse collection of 10 songs, two of which have yet to be released in their original versions.

Its cover adorned with an original painting by Tom Lee, 'Peter Broderick & Friends Play Arthur Russell' is a vibrant and joyful tribute to one of Broderick's greatest heroes. Peter extends his deepest gratitude to all of Arthur's family, friends and fans who have so warmly welcomed his own versions of these tunes. It is hoped that these recordings will serve to honor the truly staggering legacy of Arthur Russell.

40 years after disbanding comes 'Fond Reflections', the
debut album that never was from cult 4AD band Rema
Rema.
Rema-Rema featured former members of The Models
and Siouxsie and The Banshees and their much-loved
'Wheel In The Roses' EP (1980) was among the first
records to be released on 4AD. Their only contribution
to the label's storied history, they split-up before its
release, going on to form or join bands as diverse as
Renegade Soundwave, The Wolfgang Press, Mass and
Adam and the Ants.
The debut album that never was, 'Fond Reflections'
comes almost forty years after their debut EP and has
been culled from the band's rich archive of reel-to-reel
and cassette recordings, with member Gary Asquith and
mixing engineer Takatsuna Mukai painstakingly working
on them to make the album as cohesive as possible.
The ten tracks pretty much reflect the band's live set
and is the closest to what their debut album could have
sounded like. Worth noting too that although all their
1980 EP tracks are present on the album, they are all
from different recordings.
The 2CD edition comes with a second disc entitled
'Extended Wheel In The Roses'. As its title suggests, it's
the four EP tracks as they were plus 'Entry' (taken from
the same studio session as the EP's A-side of 'Feedback
Song' and 'Rema- Rema') and 'No Applause' and
'Murdermuzic', two more tracks recorded at the same
1979 Albany Empire, London show as the EP's B-side,
'Instrumental' and 'Fond Affections'.

Musically and emotionally, Superpitcher's third full-length studio album, The Golden Ravedays is a one sound autobiography that exhibits the skill, feeling and style that the artist has honed over a period of twenty years, musically, and forty-plus-years, emotionally.

And full-length it is:

The Golden Ravedays is an epic album of 24 tracks that was released in January 2017 and is stretching over 12 respective chapter albums during a one-year period.
The sixth piece of The Golden Ravedays puzzle will be released on Hippie Dance in June 2017.

Number 6 of the series introduces two further tracks of the sound adventure that Superpitcher is taking us on this year.
Side A features Protest Song. If music is a way of transporting us to other places, Protest Song takes us to a desolate, scary and loveless environment, a burnt-down, burnt-out place where the flesh of its former inhabitants is smouldering, void of goodwill and kindness in a cloud of toxic and greedy smoke. It's all Kafka and Orwell and Suffering - the most twisted and eerie track so far in The Golden Ravedays saga. What is undeniably clear is an acute sense of regret and loss - a warning that it could have been avoided, had we only listened to our hearts and protested.
In the same vein on Side B we hear powerful Resistance. Produced after the Paris attacks of 2015 Superpitcher outdid himself with this strong message of Resistance. Where Protest Song paints a picture of under-worldly doom, Resistance's techno beat and insistent refrain sweeps us to the surface of the muck of hatred and intolerance we've politically been dumped in. A voice that seems like a trapped animal is calling out to us. What is it trying to say Is it crying out for help Is that animal all of us Resistance represents hope and encouragement and could be the perfect marching track to any demonstration against negative forces. Much needed in this age of bigotry where it seems like time has leaped backwards to a darker side of history. As for the dancefloor - Resistance is irresistible!

The mercurial, industrial pop fetishism of 'Raging Tender' forms the 3rd and most impressive EP from producer Jan Grebenstein and vocalist Christine Seefried for Karl O'Connor/Regis' Downwards label
Stepping on from 2016's 'Strong Proud Stupid and Superior' LP, rebenstein's sound is now tauter, more spacious and seductively strung out, finding a sublime tension between quicksilver slow/fast drum programming and deadpan gothic delivery. Their means of production is still bare-bones minimal in an economical Berlin style that has served the duo very well thus far, from their self-titled debut for Downwards in 2014 thru to more
recent outings on experimental D&B labels Horo and Osiris Music UK.
Title cut 'Raging Tender' zips up fanged arps and needle-toothed hi-hats under Christine's close mic'd vocal with hypnotic poise and force, before 'Breathe' diffuses and unlocks that anaerobic tension with tantric 808 rhythms. After lulling listeners into a false sense of security, 'Arab Icon' raises the heart rate again with jarringly atonal electronics and an unyielding rhythmic grip, while the title and feel of 'Body Electric' speak to the duo's most
prurient desires, with Christine's opiated, any-hole's-a-goal mantra of 'I Sing The Body Electric' set to knackered, bummed-out pads and oozing bass.These are uncompromising, virulent songs about sex, death, and dancing that will surely resonate with knowing connoisseurs of the contemporary darkside.

A new addition to our ever-growing discoid dance club is Curses. With recent releases on Snap Crackle & Pop, Bordello A Parigi and Dischi Autunno, the Italo American brings something a little darker to our party - four cuts of EBM influenced madness. Bone crunching snares and B-Movie samples sit atop shimmering synth licks that will be right at home on a wide variety of modern and retro dance-floors.