Beats Vinyl New Releases - News

Widely respected for his interesting and experimental side projects, The Horrors synthesist Tom Furse has today released an album of instrumentals, recorded entirely on the Teenage Engineering OP-1 synthesiser - only the second album of its kind in existence. Created in just one week, Tom Furse's 'Interludes' is a fun snapshot of his exploration of this technology, capturing the results how and when they happened, and presented in the order they were made.Interludes' began as an experiment in producing short pieces of music for use on his NTS radio show, but Tom soon realised he'd inadvertently crafted an album's worth of work. Created between 9th-16th July of this year, the 16 track album was recorded in the order of the final track-listing, with each piece informing the next. It is intended to be enjoyed as a whole, a reaction against the idea of the 'dying album'.All music was improvised and recorded using only an OP-1 synthesiser - a newly acquired piece of music-technology esoterica that works more like a video game that a recording device. On the process, Tom comments:In many ways my unfamiliarity with the OP-1 was key, I had no ingrained habits and a decades worth of experience with synthesisers was somewhat irrelevant in front of a device that used, for instance, physical models of a tombola as a sequencer, or a driving game as a filter. This was not familiar territory, but simultaneously the whole process was very intuitive."
The pieces of music on 'Interludes' are not songs - they are part of a continuing investigation into alternative musical form and a dissolution of preconceived notions of genre, style and structure. Tom explains, "This is the musical area that intrigues me the most, and it's more recent creep into the mainstream has been both fascinating and inspiring to watch. Due to the primitive, 4 track cassette-like interface of the recording section of the OP-1, complicated arrangements were not really possible, so instead I committed to simple loops and keyboard passages, just trying to capture a moment. Without the luxury of careful editing, this meant getting it right first time or starting again all over - a far cry from my previous decade of experience using Ableton, with its many modern conveniences". Visuals
To partner with 'Interludes', Tom has created visuals for the entire album. Again using unfamiliar technology, Tom spent a week experimenting with video synthesisers and animation, an entirely new field for him. The result is a lo-fi visual trip, matching perfectly the grainy sound of the album.'Interludes' is out now digitally via Kaya Kaya Records, and will be available on vinyl on 18th November via Tom Furse's own label, Mind Meld Recordings. There will be a release party held at Brilliant Corners in Dalston, London on 22nd November, with DJ sets from Tom Furse, Pete Fowler and Cherish Kaya - all welcome.

Footshooter is the moniker of London based producer, DJ and musician Barney Whittaker. His style blends skippy, broken beat production with live instrumentation to create an organic, rich sound and he frequently collaborates with emcees, poets and vocalists exploring different tones and moods.

His last record, Strange Days EP (released on Famous Friends), gained regular plays on NTS, Balamii, WorldWide FM and, most recently, by Bonobo in a DJ set at his NYC Boiler Room.

'Technicolour Nights', due out on YAM Records later this year, is a meditation on long evenings & nights out and how they vary in atmosphere, mood and colour. Opening with the aptly named and ethereal 'Intro', the EP quickly jumps into sunshine territory with 'Juan's Stairwell' before 'On Telegraph Hill' brings the heads down for a meditative two-step groover to close up the A-side.

On the flip, Footshooter flexes his 160bpm muscles on 'Mars' with the help of London based vocalist and MC And Is Phi, before dropping the tempo just a touch on 'Rotations', a steppy, Rhodes-laden journey through London nightlife. 'Our Love' lowers the tempo even further to bring the EP to a close on a bittersweet note.

The Prodigy's seventh studio album, 'No Tourists' will be released on their Take Me To The Hospital label via BMG.
In a career approaching 30 unpredictable, uncompromising years, The Prodigy have become that rare artist whose influence can be felt across all walks of life. Continually defining (and re-defining) electronic music, the band have clocked up a staggering 6 number 1 albums, played to many millions around the world, and remain as relevant and respected as ever.
Though much has changed in the musical and social landscape, what remains a constant is The Prodigy's resolute focus on following their own path, their own way. This, perhaps, is the true meaning of 'No Tourists', and in 2018 the anger, urgency, and irrepressible spirit of The Prodigy has no doubt never been more needed.

REPRESS ALERT: Etwas stirs in die Ostlich. Edits and verks of twist sounds. Synth pop, cold wave, neu wave, minimal wave, industrial, neu beat, soundtracks and a selbst Balearen. Freiheit! Als erstes is hero of old Cybernetic Broadcast (CBS) and (Intergalatic FM) radio. Jonny 5 and his verstorbenen Blindsign blog and mixes were a steigen'n'steigen to rescue us from boring neu disco. Schieben his search and discovery for harder, but musical soundscapes. 4 edits is a geschmack. Start brave on the floor feel with the Neu Beut Euro Pop thumper Kaka Kaka. Geschleift, verdreht thoughts. Black Hole is hours spent in Eastern Bloc basements graben in the search for drahts. Stoned indeed, immaculate synth electronic battle cruiser, hart percussion, cut gesang and break. Ready for the percussive finale in Horizon's Change. Was Auch Immer. Bahnsteig!

This album is a collaboration between labels Kontra-Musik and Kess Kill. What would have become of D.A.F. if they had been signed to Trojan instead of Mute back in the day Add a good pinch of absurdism and social realism in the vein of prized film director Roy Andersson and Vanligt Folk might just be the answer. The Gothenburg group's name can be translated to 'common people' and they make use of primitive electronics, drums and skewed vocals - ranging from harsh social commentary to the purely nonsensical - to create their own take on body music. 'Hambo' is the name of a traditional Swedish folk dance that was highly popular among the common people at the turn of the last century. With this album, Vanligt Folk juxtaposes the working class dance phenomena of Hambo with modern day rave culture. This is done in the most blasphemous manner thinkable, as is the way of Vanligt Folk. Concepts like nationalism, race and tradition are all treated with the same merry lack of reverence. The only thing that needs to be respected is The Dance and those who take part in it, whether accompanied by accordions or drum machines. Or both.

Excellent library LP by Italian talent Lamusa II, a year after his debut EP "Club Mondo 2000". 8 avantgarde tracks in early-electronic explorer mode.

Second Release of Childhood Electronix. A collaborational label between Furthur Electronix & Childhood Intelligence feat. Station Rose & Erell Ranson.

Estonian electro, perfect for the club or walks home on snowy cobblestones on dark winter nights. Kadajane balances hard hitting dance floor tracks with 6am existentialism in his latest EP 'Rostok' for local imprint Päästevest.

LP w/ Download. Blue Sky Black Death is a name that pulses throughout the underground hip-hop community. The production duo is widely credited with being architects of the popular cloud rap sound.

Now, Young God, one half of this innovative team, is releasing a boundary pushing body of instrumental work under the alias Televangel, entitled Anthropocene Blues. Much like the cinematic style he created with his partner

Kingston in BSBD, Televangel combines haunting and ambient sounds with atmospheric, melancholy arrangements and carefully-placed drums. The end result is more reminiscent of post-rock such as Godspeed You Black Emperor!

than any hip-hop artist. Televangel plays every instrument heard on the album, making Anthropocene Blues a cohesive soundtrack that is much more than a beat tape.

Sinking Into A Miracle is the debut album by Glasgow's AMOR, a quartet of musical travellers exploring the sonic open-ended-ness of dance music. Following two critically acclaimed 12-inches, this is a fully developed treatise on ecstasy and transcendence. Here, Richard Youngs, Michael Francis Duch, Paul Thomson and Luke Fowler are more honed, razor sharp in focus and timing, testing their instrumental prowess on condensed song structures and new, enlightened feelings of expansive hope and bliss. From the outset, it's an ambitious yet ultimately inclusive journey. Recorded to 24-track tape at Chem 19 and mixed by Paul Savage and Richard McMaster (Golden Teacher), this full length retains the elastic grooves of Paradise and Higher Moment, the group's previous singles, but relinquishes the classic Philadelphia International-tinged sound in favor of looser rhythmic patterns. There are new depths to the compositions: a more free-flowing approach to percussion and deft experiments in hybridity make for a full and rounded, emotionally tinged record. Indeed, there are times when AMOR sound like the lost house band from David Mancuso's Loft parties: Richard Youngs' uplifting, gospel-tinged lyrics talk about moving beyond, universal truths, sailing through the horizon. It's a wideeyed optimism Mancuso would perhaps have approved of and which is embroidered with spectral details that begs to be auditioned on large, tweaked out sound-systems.
Fantastic cover art by Robert Beatty.

**ORANGE VINYL INDIES ONLY LTD. 200** Sinking Into A Miracle is the debut album by Glasgow's AMOR, a quartet of musical travellers exploring the sonic open-ended-ness of dance music. Following two critically acclaimed 12-inches, this is a fully developed treatise on ecstasy and transcendence. Here, Richard Youngs, Michael Francis Duch, Paul Thomson and Luke Fowler are more honed, razor sharp in focus and timing, testing their instrumental prowess on condensed song structures and new, enlightened feelings of expansive hope and bliss. From the outset, it's an ambitious yet ultimately inclusive journey. Recorded to 24-track tape at Chem 19 and mixed by Paul Savage and Richard McMaster (Golden Teacher), this full length retains the elastic grooves of Paradise and Higher Moment, the group's previous singles, but relinquishes the classic Philadelphia International-tinged sound in favor of looser rhythmic patterns. There are new depths to the compositions: a more free-flowing approach to percussion and deft experiments in hybridity make for a full and rounded, emotionally tinged record. Indeed, there are times when AMOR sound like the lost house band from David Mancuso's Loft parties: Richard Youngs' uplifting, gospel-tinged lyrics talk about moving beyond, universal truths, sailing through the horizon. It's a wideeyed optimism Mancuso would perhaps have approved of and which is embroidered with spectral details that begs to be auditioned on large, tweaked out sound-systems.
Fantastic cover art by Robert Beatty.

Lerosa's 25th solo EP will be released on German label eudemonia. Known for his deep-house sound, the Dublin based Italian producer showcases a different palette for this release. The four tracks gravitate somewhere between Electro, Italo, Synthwave and imaginary film themes. "Glider", a fast electro track, opens the EP combining acid drops and dystopian sci-fi elements. "The Minister' is much slower and serves as an emotional homage to those gone too soon. "Plateau Rosa" connects Italo and Detroit delivering a rolling bassline and glassy synth clouds for the delight of the afterhour-dancefloor. And if Lerosa had scored the soundtrack of a Michael Mann film in the 80's, "Theme of Perception" would have been right at home, a fitting end for this EP. The cover is a painting by the Irish artist Sibyl Montague. It was originally exhibited in London at an exhibition called - Totem'.

Finally Repressed

Creme Organization welcome a new producer to the ranks for their next EP: that man is Rhythmic Theory, a mysterious artist from Bristol who has years of experience of DJing, producing and running labels behind him. Most recently he has been in charge of his own eponymous label, and has close involvement with the BRSTL imprint as well as releasing on Idle Hands and Happy Skull. Across four track he shows a number of different sides, all of which are fascinating and inventive. Pessimists' opener Empty House (RT's Choppage Mix) is a sparse and broody track with, at first, only the occasional kick drum beneath sooty synth smears. Its from a post-human world and eventually turns into a lurching, off beat track that rises form the ashes of jungle and dubstep with real menace. Outlawed From Reality is another slow and purposeful track that is eerie and cinematic: the off beat drums and spooky atmospheres are full of intrigue and suck you right in, then Cyclic Motion continues to bring a paranoid and unsettled feel to the EP with its layering of elastic drums, naught sine waves and scattered drum hits. Last of all, Rachael's Theme mixes up passages of blissful cosmic ambient with loose, rumbling drums and a general vibe that feels something akin to passing from this life to the next.

Songwriter and multi-instrumentalist / producer Scott Hirsch has recorded a follow up to his critically acclaimed 2016 record, Blue Rider Songs. On Lost Time Behind The Moon, Hirsch chronicles confronting ghosts of the past, acknowledging that darkness rides alongside the light, and avoiding the pitfalls of regret. The record was recorded and produced by Hirsch with the help of Mike Coykendall (M Ward), and features musical guests William Tyler, Mikael Jorgensen (Wilco), Orpheo McCord (Edward Sharpe), Jimmy Calire (America) and Jesse Siebenberg (Lukas Nelson, Supertramp). Scott Hirsch's name is one you'll find lurking in the liner notes of many admired recordings from the late 1990s to the present. As a founding member of Hiss Golden Messenger, he was integral to the band's first five records, lending his sonic imprint on their productions, as well as shaping the sound of the live outfit, having toured heavily through the formative years of the band. Much of this work is reflected on the forthcoming Merge Records box set entitled Devotion: Songs About Rivers And Spirits And Children. Along the way he produced and played on records by Kim Krans' Family Band, as well as recording a Grammy-nominated record by the legendary folksinger Alice Gerrard. Having stepped off the demanding tour schedule of Hiss in 2016, new pathways opened up for Hirsch to fully engage in the craft of songwriting. On this second record, his production tones and songwriting talents are in full bloom. 'I think of Lost Time Behind the Moon as Scott's masterpiece, because everything I know about him is in these songs, the groove and the wonder.'—MC Taylor (Hiss Golden Messenger)

"Welcome to aquatic electro-tale. Electronic Leatherette provides their electro tales from deep sonic underwater universe.

Towards the Shadow, the third full-length from Wume, the Baltimore duo of April Camlin (drums, vocals) and Albert Schatz (keyboards, electronics),

offers eight exploratory, polyrhythmic jams taking the listener on an excursion deep into inner space. It announces a new phase for the band,

distilling such influences as Francis Bebey, Midori Takada, Erkin Koray, and Alice Coltrane.

However, Wumes sound remains rooted in crisp percussion worthy of comparison to Can, wedded to harmonic synths and kaleidoscopic textures.

Towards the Shadow also centralizes vocals more than any prior Wume outing. Camlins lyrics grapple head-on with deep philosophical issues probed during

an intense period of reading, self-teaching, and focus on her artistic practice in weaving. Hailing from the highly varied Baltimore music scene that includes

such artists as Dan Deacon, Horse Lords, and Chiffon, Towards the Shadow offers one of this communitys most exciting and essential documents yet.

The indigenous cause is an urgent one not only in terms of territory but also when it comes to the preservation of the vast Indian culture and Brazilian singer-songwriter Marlui Miranda has been dedicating herself for almost four decades to keep their music alive (she has a doctorate on Indian music, so you know).

In 1995, Marlui released the album 'Ihu: Todos os Sons', a collection of Indian chants she gathered in her field researches and released only in CD through two small labels (one in the US, the other in Brazil). This research started in 1986, funded by the John Simmon Guggenheim Memorial Foundation, and it investigated the sounds of different tribes in the Rondônia state, northern Brazil, namely the Suruí, the Makuarap, the Aruá, the Tupari and the Jaboti tribes - the latter being the one identified with the 'Tchori Tchori' chant, which praises a bird called biguá.

The haunting, beautiful melody of 'Tchori Tchori' couldn't get a better companion than the exquisite musical palette of Uakti, one of Brazil's greatest instrumental groups, known for creating their own instruments (you've heard them before in Selva Discos alongside Maria Rita). That's what the listener gets on the A side of this release - the deep sound frequencies of a 45RPM cut, fully remastered, of a song never put on a vinyl record before. On the B side, Brazilian DJ and producer Joutro Mundo (Jonas Rocha's alias), who's also involved in the indigenous cause for a long time, takes us on a journey reworking Marlui's groove with subtlety, extending the chant and adding just the right elements to make it work not only in the dancefloor but also on home/office environments for pure listening pleasure.

'Indian music for itself does not have to compete with any other music genre. It is what it is.' Marlui Miranda.

'Tchori Tchori' marks the first volume of the BRASINGLES series, a new series on Selva Discos dedicated to releasing loud 12' singles with the original song on the A side and a rework on the B side, to please both the DJ and the listener.

Following support from the likes of Ben UFO, Pearson Sound, Tessela, Laurel Halo, Mumdance and more, electronic producer Airhead has returned to the 1-800 DINOSAUR imprint for a brand new 12' double single of highly sought after music, purpose built for the club.

Named 'Clatter' and 'Droplit' respectively, both tracks hold the hallmarks of a classic Airhead sound, while simultaneously pushing the envelope of his previous work. 'Clatter', employs chiming synths and cascading rhythmic elements coupled to create its own steady tempo. Demandingly robust yet simultaneously instilling a sense of fun, 'Clatter' remains unpredictable throughout and consistently pushing the envelope of what defines club music. A disarming blend of whirring breaks, pitch shifted sirens, and guttural 8-bit bass notes, 'Droplit' is the perfect counterpart to 'Clatter'. Sparse yet still frantic and inherently danceable, 'Droplit' harks back to the rave era while keeping its vision firmly set in the future, transcending time and convention to embody a completely fresh approach to contemporary club sounds.

Already a lynchpin for progressive sonics both in and out of the club, Airhead's newest release on 1-800 DINOSAUR is a staggering blend of unconventional melodics, impactful percussion and devastating low end. Already proving to be a duo of hugely in demand tracks of the year thanks to support from some of the world's most respect selectors, with 'Clatter/Droplit', Airhead has pushed the sounds shaking the foundations of clubs forward dramatically, and as a result, created music that will inspire incendiary reactions worldwide for years to come.

Aperture records has always been about discovering new artists and bringing them to the forefront and italy is well-renowned for its electronic music, both former and current. so, from one italian duo (t.e.s.o.) to another... introducing Diaster.
Diaster aka Teo & G grew up in treviso, listening to the most experimental music they could find in their small rural city near venice.
With Matteo inspired by metal and musique concrete and Gianluca a researcher of old electronic/instrumental music, they decided to experiment with their various experiences in house, techno and drum n bass, inserting strata of industry and noise into their material. after 'Enchantments', a debut ep on DVNTT which deserves more recognition, and an accomplished follow up on Subsist records; 'Final Beginner', aperture records brings you their latest contribution; 'Clustered Non Symmetry'.
On first acquaintance, this 8 track album appears on the minimal spectrum; monolithic and indivisible. tension builds slowly and influences, mostly of a similar vintage, come through. arrhythmic incursions of stark and contorted electronics conjure up a hesitant, stealthily-undermined delineative framework.

Another week another lovely electronic/synth album, this time from Brooklyn based Faten Kanaan. To me these 13 shimmering tracks conjure up images of Medieval scenes in old video games, baths of mercury or other such things - think a new-age Mira Calix or more lo-fi Kara Lis-Coverdale.

The title is symbolic: an homage to the wild, untamed/unedited spirit. It's an album of uninhibited expression, a balance between playfulness and nuanced intentionality. Foxes is loosely inspired by early Surrealist automatism, made-up languages, Middle-Eastern Hakawati storytellers, and the minimalist poignancy of mimes. Here, Kanaan uses sound as an intuitive gesture to tell a wordless story.

More Than Human are based in Canada and have previously released records by Pye Corner Audio, Robert Aiki Aubrey Lowe and Ekoplekz.

The mysterious Barnes & Wobble comes back for the first Silver Fox Production 12' limited to 300 copies.
On A side the duo inaugurates the brand new shuttle between Bombay and Brussels with 'Love Fever (goa mix)'. Imagine a Bollywood movie filmed at the Bocaccio surrounded by dancers, flowers petals, elephants and tigers and you are really close to the point. Reports said that the track is already played in a lot of south India beach parties.

Barnes goes alone and takes no prisoners on B-side with the industrial kangaroo rampage made by 'Thick Thick Thick (Arm to Body Extension Mix)'. If Patrick Bateman ever did music instead of killing people he probably did this outrageous slashing track. NO MERCY NO PITY just Pain and Dance!

Jonas Palm released the excellent "Ze Wörmnest" album in 1986, following up with "Decompositions" (recorded following year) released by Börft Records in 2011. On "Remote Jazz" Palm collaborates with saxophone player P-O Lundquist in what seems to be a very rare and absolutely magnificent combination of electronics and saxophone. Perfectly atmospheric, triggering and genuine.

After more than 10 years RHYTHM TRAX is going to release rhyme06

RHYTHM TRAX is a damn funk techhouse label

David Holmes was drawn to DIE HEXEN by their 'magical sensibility that has both shades of dark and light, which is something that always appeals to me in music'. After featuring in his edition of the famed Late Night Tales compilation with a take on the original suicide song 'Gloomy Sunday', DIE HEXEN returns to expand upon their dark ambient journey towards transcendence with an eagerly awaited debut album.

DIE HEXEN's genre eschewing synth driven compositions draw inspiration from the disturbing beauty of Hieronymus Bosch's artwork and several brushes with death, evoking a spirit who traverses realms of the underworld to bring forth knowledge of an Ancient past and in doing so, to reveal the not so distant future.

The Garden of Unearthly Delights transports the listener through strange visions of darkness, beauty, creation, destruction, death & rebirth. An exorcism of body, gender, tribe towards a place of ultimate transcendence.

Somewhat of a polymath, DIE HEXEN has already shown their prowess with live performances part music/part performance art spectacle, as an avant-garde filmmaker and as an award-winning multi-instrumentalist, sound designer and film scorer.

DIE HEXEN's divergent interests from Japanese Butoh theatre to Wiccanism, Shamanism, celestial mysticism and time travel informs their method, as they explain themself; 'The compositions I write are not written, at least not by me. They appear to me as audio/visual hallucinations. I can hear, visualise, and feel the whole composition before me. My hands know instinctively what notes to play and like a stream of consciousness, voices emerge. Having suffered severe head trauma that resulted in a heightening of the senses, the theme of death is an increasingly present theme in my work. With this, my perception of death and what is beyond changes as I contort between this world and the next physically and mentally, musically and visually. Working with music or film, my vision is one. The calling to express these auditory hallucinations is inevitable'.

Camisole Records welcomes you on board for this Business Class Library compilation. During your flight you will be listening to music by Serge Bulot, Alan Shearer, Gérard Gésina and Pascal Wathelet. All these 80's electronic library tracks have been curated by your captain Silver Fox to assure you a pleasant journey. 'To Thwart Soul' by Gérard Gésina will guarantee you an easy take-off while 'Ondulations' by Serge Bulot is perfect to calm down during turbulences. For hours of magnificient dreams try 'Mouvements' by Pascal Wathelet. Landing with'Hollywood' or 'Marathon Life' by Alan Shearer will prepare you for your busy day to come. We thank you for flying on Camisole Records and hope to see you again on our lines. This trip is limited to 500 copies.

'Awake' is a soundtrack for roaming around vast city landscapes between late night and early morning. A lone wolf observes the scenery and watches over people, their heads low, on the path home to sleep. Inspired by 1980's movies, drone and video game soundtracks, Rob Orme aka submerse returns with an update to his signature sound.

the second 7' of käfTen is dark energic synth tones from Claus Fovea that will make you dance your socks off.

Mannequin Records is honored to present a 2xLP retrospective compilation of the french electro/wave pioneer Le Syndicat Électronique, the historical electro/wave project by Alaxis Andreas G., founder of the seminal Invasion Planète Recordings - the first French minimal electro/wave/experimental label founded in late 1998 by the insurance proceeds of a car crash. Vinyl pressed on black 160 gram housed in a full color printed sleeve limited to 500 copies with insert.

Heavily influenced by the work of masters like Kraftwerk/John Carpenter/Front 242, Alaxis Andreas G. is responsible for many others dark electronic / industrial / neofolk projects - to name a few: A//, Bruta Non Calculant, Swesor Brother, La Séduction Des Innocents, It & My Computer, Eva VIII.

After many years of supporting his artistic vision and direction, we decided was time to collaborate together in this killer 2xLP compilation, which includes 5 historic tracks never pressed on vinyl whose 3 are released for the first time ever.

Tracks selected, re-mastered and arranged by Alaxis Andreas G.

Patricia Kokett's sound is shrouded in a veil of mysticism. The brainchild of Lithuanian Gediminas Jakubka, Diabel's metallic heartbeat underlies a magical superstructure that evokes some kind of DMT infused trip. Or possibly even some kind of ancient ritual, where one is intoxicated by serpents blood. Guided by repetitive drum patterns, it creates a slow joint dance that opens the path towards transcendence.

Leifur James will release his debut album in October through Late Night Tales' artist label Night Time Stories.
A Louder Silence is the London-based producer and multi-instrumentalist's first proper release; his two earlier singles feature on the record, after gaining support from Gilles Peterson's Worldwide FM with a live airing and interview in 2017, plus continued backing from XLR8R, Stamp the Wax, and BBC Radio 6 Music DJ's.
The album is both spacious and thought-provoking, energetic yet restrained, brimming with nuanced electronic instrumentals, dubby synths, and jazz breaks — creating an array of rich textures, complemented occasionally by James' own soulful vocals.
While James' early unreleased work was singularly electronic, A Louder Silence focuses on analog synths and warm acoustic instruments, all played by his own hand. It's the product of a two-year spell in James' home studio, with additional live drums recorded with Jim Macrae at London's Old Paradise Audio.
James' rich musical influences are laced through the release. Encouraged by his mother, a classically trained pianist, he learned to play the cello and developed adeep understanding of rhythm and melody that informs his approach to writing electronic music. James playsthe piano he grew up listening to in 'Mumma Don't Tell' and samples an indefinable percussive element to drive forward 'Suns Of Gold.' 'Night and Day' sees cello plucks and long melodic strokes interlink with a grooving synth line. He also field records the atmospheric Moroccan sea in 'Red Sea.' Inspiration stems from the experimentation of modern day electronic producers, fused with the Jazz, Classical, Blues, and Soul music that soundtracked his youth.
Central to the album is the idea of space. James recalls the early advice of his uncle, a jazz guitarist, who features on 'Uncle Blue': 'I remember him saying to me: "What goes in comes out' James says. 'Every detail should be a worthy detail; sometimes nothing is better than something.' Moments of blissful, structured intensity are juxtaposed with stillness and near silence — dark and light; loud and quiet. This also forms the foundation for the album title: A Louder Silence reflects the dichotomy of finding pockets of stillness in a noisy world.
The result is 10 distinct tracks delivered as one coherent and well-structured long-player debut, set for release on LP, CD, and digital, on 5th October 2018.
Live dates follow a debut live show earlier this year at the Jazz Café with Yazz Ahmed, including an album launch at London's Ghost Notes in October.

Michele Mercure often dreams of music, and in her waking life, reclaims fragments of these fleeting, floating melodies in her compositions and sound art. Beside Herself, an anthology of Mercure's self-produced and distributed cassettes released between 1983 and 1990, collects these dreamlike passages and lo-fi nocturnes, preserving the qualities of discovery and intimacy surrounding their genesis.

Mercure's sound is a porous electronic art that overlaps ambient, abstract, and industrial sensibilities - its spaciousness reveals an artist attuned cinematically rather than for radio play or public performance. She approached the latter theatrically, and rarely, disdaining most live shows as too serious, and bringing her music to bare on her audiences in playful, immersive contexts. On recordings, Mercure's night lit synth music evokes non-confined environments, at once expressionistic and minimal and always aware of its surroundings.

Mercure was a busy collaborator during the years surveyed by Beside Herself, making music for theater, performance, film, and TV animation, yet it was through her self-released cassettes that she established her music among like-minded artists abroad. Circulated through tape-trading networks assisted by insightful reviews in Eurock, a seminal music magazine covering progressive rock and electronic music scenes, these album-length releases included Rogue and Mint (1983), A Cast of Shadows (1984), Dreams Without Dreamers (1985), and Dreamplay (1990). Though unvarnished in fidelity (and now scarcely seen), these tapes showcased Mercure's transportive aptitude within and beyond the limited sound recording medium.

Founded in 2014, Amnesia Scanner's approach is informed by a unique perspective on technology and the way it mediates contemporary experience. System vulnerabilities,
information overload and sensory excess inform their work, which has found a home in both clubs and galleries.
Building on their mixtape 'AS Live' Amnesia Scanner's critically acclaimed audio play 'Angels Rig Hook' (2015) laced a potpourri of dancefloor tactics with a machinic narrator.
Their dual EPs for Young Turks, 'AS' and 'AS Truth' (2016), distilled this immersive environment into an abrasive collection of cryptorave tools. The most striking detail of 'Another Life' is Amnesia Scanner's use of both human and inhuman voices.
The latter is provided by the latest addition to the production unit, a disembodied voice called Oracle, which represents the sentience that has emerged from Amnesia Scanner.
Oracle's vocal performance ranges from exuberant mania to anxious dread and beyond. Coupled with the pop song structures that Amnesia Scanner employs for the first time, the avant-EDM productions of 'Another Life' evocatively explore a schizophrenic present marked by narratives of a slow apocalypse or salvation via technology.
Indeed, the lullaby of 'AS Another Life' swings between trill hope and casual threat, lending a precarious gait to the song's staggering rhythm. The album's first single, 'AS Chaos', is its most powerfully direct track, with Pan Daijing's English and Mandarin vocals taking over for Oracle. At its peak intensity,

Japanese experimental duo group A formed in 2012, comprising Tommi Tokyo (synthesizers, drum machines and vocals) and Sayaka Botanic (violin, sampler and cassette tapes). Their early shows came as a shock to most spectators, non-stop waves of avant-garde noise, poetry, and performance art, such as semi-nude live painting. They have self-produced/released 3 albums and a remix single by Tom Furse from The Horrors - their third album was later released on Mecanica Records) - and an EP last year on Mannequin. They played their first full European tour including TodaysArt, Soy Festival and RIAM in the autumn of 2015. Since early 2016, the duo has been based in Berlin where they are further developing their musical and visual materials. They have performed at the CTM Festival, Krake Festival as well as many other European Festivals such as OFF Festival, Donaufestival, Roskilde and Le Guess Who
"Disobeyed Flute", a pipe tone from a twilight valley, a summon to an unknown fate. "Circulation" is a damaged dalek, to a hobbled Moondogian tempo. "Float", ghostly keys emanate from the bottom of a well, seeps into some plucked strings and asian drum. "The Devil to Pay" invokes some hellish tableau, an eery chant, to the sharpening of some instrument of gore, backed by an oscillating helicopter synth. Consumer rocks along with a consistent rhythm, like a slowed down YMO, with whimsical klaxons in tow.

Crotocosm is an occasional collaboration between Jordan GCZ (Lushlyfe, Off Minor) and Willie Burns (Black Deer, WT Records). Tracks were recorded together live in Amsterdam and Brooklyn between 1996 and 2017.. it's a TIP !

After some ground-breaking live shows and their 2016 debut release for ART - London Modular Alliance have gone from strength to strength to become one of the most in-demand and popular electronic acts. Their brash yet sophistictaed brain-melting tracks have been featured at clubs and festivals worldwide incl. London’s Planetarium, Reaktor - Amsterdam, Printworks - London, etc. LMA themselves have described ART20 as their favourite collection yet - and indeed the production skills on display are stunningly impressive. Space and dynamics are tough to master yet when it is handled correctly it leaves room for a heavyweight sonic assault as displayed here. From the creepy, sinister yet tongue-in-cheek vibes of Lavendah - to the lush Detroit/IDM style breakdowns of Peach Hat. Harnessed Black Holes is the perfect cruiser track - stately and majestic whilst the EP ends with the throbbing, strobe light-only style of title track Precious Materials. Another landmark release from these fine purveyors of Electronica. ART is proud to present ART20 early this summer 2019.

A superb oriental electro sound... The Ingaza first press on vinyl. Gatefold Sleeve.