Beats Vinyl New Releases - News

Transversales is very glad to announce the release of Mémoire Magnétique Vol. 2 spanning 1966-1993, revelatory collection of short and secret music by electronic music pioneer Bernard Parmegiani.
Since the late 50's, Bernard Parmegiani, a major figure of electroacoustic music and a founding member of GRM has created some eighty two concerts music. From the start,
Parmegiani’s work was closely linked to the screen, with dozens of documentaries, films, long features, animation films but also musical pieces for dance, stage or television. If many of his pieces are landmarks in the history of electroacoustic music (De Natura Sonorum, La Roue Ferris…), his application music compositions are strongly embedded in the subconscious landscape of the French public (Stade 2, Roissy Paris Airport…).
The second volume of this compilation allows us to discover some of unreleased rarities from Bernard Parmegiani’s personal archives and unpublished recordings which were composed for the screen or the performing arts.

audioMER. is honoured to announce the release of a new LP; Make Visible the Ghosts with music by Aki Onda (US/JP) and artwork by Paul Clipson (US). This album is the follow-up of Aki Onda’s Cinemage project Lost City—with Loren Connors and Alan Licht—released on audioMER. in 2015.

On Make Visible the Ghosts, New York-based musician Aki Onda composed the soundtrack for the images of the San Francisco experimental filmmaker Paul Clipson, who suddenly passed away on February 3, 2018.

In 2009, Clipson and Onda met at the Amsterdam Schiphol Airport for the first time and shared a ride to the International Film Festival Rotterdam, where they presented audio-visual works in the same bill. Since then, the two artists – known for their highly personal approach with Super 8, 16mm, cassette Walkman and radio – maintained a close friendship over the next nine years. Their works deal with memory, time, space, and those reflections, and they had a lot to share.

Onda and Clipson completed their collaboration work Make Visible The Ghosts—a combination of vinyl LP of Onda’s music and large-size collage artwork by Clipson—a few months before Clipson’s departure from life. The work is composed of the materials they used for their performance in New York in 2012 and developed over the three years from 2015 to 2017. Onda notes:

“The loss of Paul has left a huge hole in our mind including his friends and collaborators. Paul is no longer here, and this is a chance to remember him and his images that extended and expanded our perception of how the world can be seen and heard.”

Healing Force Project intertwines jazz and electronics to form something truly psychedelic and unique.

Koehler… he has all that stuff… like the cover: He drew the dragon on the back some years ago. Those sounds… somewhat brutal, even dirty, with mean resonances cutting… The rhythms, unfolded with unflinching relentlessness, bashing the same spot over and over and over, that shrouding shimmer of fantastic otherworldliness… it has strange effects, it becomes so tactile…

Grand St., the upcoming release on NYC's Maddjazz Recordings, is a 7-track EP from the duo Pharma - the musical group of long time friends, Sam Katz & Milo McBride. While they’ve spent the past years operating in different musical landscapes, Pharma is their most recent collaboration and features guest performances by rising stars, anaïs + Wati Heru.

At its heart, Grand St. is pop music, but performed through a dusty lens of bittersweet melancholy. The release is offered both in digital formats on all platforms and as a limited 12" Vinyl (100 copies only). The artwork + design was done in collaboration with Phil Wong and Lucas Mascatello.

Formerly a musician, cinematographer and lighting designer with The Residents and a student of “Blue” Gene Tyranny, Philip Perkins issued this astounding release on his own Fun Music label in 1983.

Perkins often worked in topographical realms, crafting environment-enriching soundscapes, albeit on a micro level.
Taking cues from minimalism, environmental field recordings and home-baked ceremonial mantras, King Of The World is a meditation on the lives of three ancient kings who believed themselves to be the ruler of all mankind.

The post-Hassell currents of Fourth World music unavoidably come to mind. King Of The World sits comfortably amongst the backwards-referencing style of more recent producers - but Perkins was a contemporary of the famed trumpeter and he alchemises a DIY spirit and sound art aesthetic into his own unique province of Magic Realism. Off-centre loops of African hand percussion are overlaid with a palette of water trickles, bird calls and mutant Casio synthesizer forming deceptively simple rhythmic and textural collages, always at a level just above subliminal.

Remastered in Brooklyn by Josh Bonati and with new sleeve artwork by the internationally acclaimed book designer Luke Bird.

Two one-man band projects meet together on the very first Global Warming various record : The cold-blooded Scottish sound-ingeneer Sordid Sound System and mysterious Spanish hedonist Sutja Gutierrez. Deeply rock-rooted and drug-infused, this futuristic western soundtrack opens with ‘The Void’, a arid dub jam, heavily hallucinogenic and ‘Meanwhile, When Times Turn Bad’, schizophrenic punk jam both recorded from Sordid Sound System’s redwood forests new studio on Northern California. On the other side, the lone ranger Sutja Gutierrez takes us to a dystopian horse ride into shady woods and grey plains, with ‘Everything Leads To An End’ and 'Beheaded Angels', two sensible journey, blending goofy drums, creepy synths layers, heady weird vocals and binary guitars for a unique and mighty melancholic mood.

Hailing from Oaxaca, Mexico and currently based in Brussels, Vica Pacheco crafts a rich sound world that comes alive in surprising manifold turns. On the heels of Vocamorphosis, her stunning electroacoustic piece commissioned by France Culture where Ferrari-esque divagations venture into the untamed fancies of an imaginary wilderness, her debut record Symplegmata transposes a continuous exploration of unearthed sound narratives into briefer vignettes that, together, allow for a fully-fleshed mythology to unfurl. Departing from the idea of the symplegma - biological fusions, hermaphrodite sexuality, the amalgamation of distinct beings into fully-realized entities - Pacheco synthesizes field recordings and manipulated vocals in order to weld unique micro-sculptures that convey environments as contrasting as they are complementary. The 12 tracks that compose Symplegmata can be interpreted as elements for an alternative science fiction soundtrack or as the leisurely tunes of a parallel civilization from future pasts; either way, the physicality of Pacheco’s sound crafting beckons the kind of immersive melding that, much like the underwater symplegmatic beings of her lore, generate new fusional experiences with each listen.

It was the mid 80s. A musical revolution was already steamrolling throughout the French West Indies when the band Kassav' produced what was to become the sound of the decade. With a now wider use of synthetic and digital tones, the "zouk" wave literally swept away to sea the biguine and cadence from the West Indian musical landscape. While this took place, some musicians chose to make an alternative use of the new techniques brought on by the advent of synthesizers. Musicians like Serge Fabriano.

It was back in 1980 that Serge, a talented young musician from Guadeloupe, while studying for a degree in 'Arts & Informatique' (Computers & Arts Cycle) at the Université De Vincennes near Paris, discovered early computer-generated digital music (MAO in French) thanks to his roommates, who both taught computer-generated graphic arts. In 1982 Fabriano and his Fabriano Unité Zion project recorded, with the help of Alain-Jean Marie, Mario Canonge and Pierre Labor, Cosmik Syndika*, which to this day remains a masterpiece of made-in-Guadeloupe Caribbean jazz.

The following years saw him tour the US and Canada as well as several other countries. By 1986 he was back in Guadeloupe, teaching music in the secondary schools of Point-à -Pître and Sainte-Rose. While doing this, his ongoing passion for the budding MAO led him to kit himself out: the Yamaha CX5M (MSX Music Computer), the Macintosh Plus, the legendary synthesizers DX7 and DX11 and several other early rhythm machines became his new toys.

Him and his partner at the time, Marie-Reine Lamoureux, who was also both a teacher and a musician, as well as a member of the Fabriano Fuzion project, decided to involve their pupils in his electronic musical experimentations. They recorded an album, composed of five tracks deliberately titled Demain, under the name 'Digital Caresse' (the idea behind this was that instead of hitting the percussions to make music, one stroked the computer keyboard to coax a sound). The combination of the children's choir, enchanting wonky flutes, saturated electronic beat and cosmic atmosphere perfectly outline the purity of this rough diamond.

We are not where we live, but the valley we built'
Enjoyment through suffering. Beauty in chaos. African Ghost Valley apply these principles to create their heavy doomsday electronics pulled in from the Black Bunker; a D.I.Y space under a multi-story car-park.Separated from any scene on the surface, the record was put together by European / Canadian duo Childle Grangier and Gabriel Ghebrezghi;a partnership formed in the heat of heavily improvised recording sessions, where the pair would thrash out their versions of power electronics, industrial waste drops and rhythmic dub rumble to the cities homeless.
Keeping these raw fnal cuts away from any studio trickery, the microphone would be left on to archive feld recordings and wayward audio drops, capturing the hum and lifeblood of the 'Bunker and the wheezing lungs of the dense concrete that surrounded them. Titling this work 'Colony', the album is a open-ended and multi-edged tool for AGV to explore, allowing the listener to interpret the work as they see ft, bringing to mind images of corroded space settlements and the darkest recess of human history. You decide.

+ Eindeloostoogfilosoof (locked groove)

Alex Deforce, poet and Brussels bar-culture connoisseur makes his appearance on Lexi Disques, in collaboration with NY-based Charlotte Jacobs and Wiet L (Sagat). The result is a playful mix of spoken word and electronics infused in contemporary flemish poetry and radio practice. Including a 12 page booklet with texts and visuals by Alex.

A child of punk and noise, Pierre G. Desenfant, under the Blackthread monicker, pursues the multiple incantations of an immersive and inner quest, carved from the limbo of his own dreams, cinematographic miniatures where the intimacy of words and spoken word meets the chiseled luxury of analog machines.

In his songs of a new century, Blackthread experiments with the precision of the scalpel, an outstanding storyteller floating on vaporous synthetic mist. Sumptuous magnetic clouds in which balances an emaciated bass, choirs on the horizon, a soul keyboard or a minimal, almost hypnotic beat. We slide between scenes in sequences, carried by the echo of this voice dancing between the murmuring and the sung, hints of Gil-Scott Heron flirt with Pansonic, Coil and Eno-esque ambience.

Written and constructed over three years, his third album The Way You Haunt My Dreams was recorded with urgency in only a few days, with the contribution of sounds from friends Béatrice Morel, Frédéric D. Oberland, Stéphane Pigneul deOiseaux-Tempête, Rémi Dulaurier and the complicity of Johannes Buff (Zombie Zombie, Lee Ranaldo and The Dust, Enablers) in the mix. Contemporary photographer Gaël Bonnefon illustrates the album with his striking silver-toned clichés.
Sparkling with a sensitive bark and piercing directly the heart, Blackthread delivers with The Way You Haunt My Dreams a black and red diamond, addictive hollywood wandering, already blending into the night to haunt dreams in technicolour.

Blackthread is a story of development. Removing the traditional guitars and drums of noise rock in which he made his more conventional apprenticeship, Desenfant has reached a minimalistic formula in finding a new path. Constructed with minimal tools (a bass, analog synthesizers and his voice), his music, after these few years, expresses a plethora of sounds and feelings. Spoken words, whispers and explosions, this disciple of Brian Eno, Silver Apples and Alva Noto writes a beatless techno, rock devoid of guitar, an ambient enhanced with texts of icy beauty.

With The Way You Haunt My Dreams, Blackthread grapples with the tension of a certain genre of dark rock and literary post punk, superimposed in ambient music. Continuing with this sense of mood, Desenfant succeeds with this new album in developing a rare songwriting in experimental synth music. Blackthread is also a story of the voice. Never suffocated by acoustic research, the words of the vocalist give this disc its depth of personality, somewhere between neuroleptic reverie and confrontation with the musician's catharsis.

Electro-Chanteuse und ex-Model Carmen Villain überzeugte 2013 auf ihrem Debütalbum "Sleeper" mit einer Melange aus Royal Trux und frühen Sonic Youth. Auf dem Nachfolger "Infinite Avenue" präsentiert sie interessante Kollaborationen mit House-Produzent Matt Karmil (mehrere Tracks), Noise-Improvisator Helge Sten aka Deathprod ("Quietly") und der norwegischen Ausnahmesängerin Jenny Hval ("Borders"). Das Cover zeigt Hollywood-Ikone und John Cassavetes-Partnerin Gena Rowlands.

« Beauty of the world, chaos of the mind. »

“French music producer Coni presents Transperce, the first record under his project Ce Raid Solitaire.

Inspired by dramatic modern landscapes and haunting memories, the record is an attempt to seek beauty in the midst of a chaotic and saturated present.

Filled with the intensity of chasing rhythms, flicking hi-hats, fierce voices, melancholic pads and wretched distortion, Transperce evokes a state of industrial catharsis to the conscious mind.”

CLUB WINSTON resumes output by way of a double barrelled donk, parallel pressed, ready to go.

BEIRUT, Lebanon — a haunted city. The dead look out from the bullet holes which scar the public squares and back streets, presided over by the monumental ruin of the Holiday Inn, overlooking the city from its seafront cathedra.

Broken Britain Cassettes advances its World Service campaign eastward with an anatopic release from Frenchman Couronne de Merde, who became preoccupied by the Lebanese Civil War after repeated visits to Beirut. Recorded over a week in Paris, these tracks are an exorcism of the ghosts who followed him back.

Spectral voices lurk behind the shell-shocked synths and an urgent battery of percussion. Proceedings move forward and backwards in time - at once observing the event and recalling it afterward. Disparate scenes and incidents are conflated in a trans-historical bloodbath, underscored by a sorrowful ambience which longs for meaning in Sacrifice.

اتمنى لو ان الریاح .Couronne de Merde casts an unflinching gaze at theocratic and political contradictions is a poetic documentation and dramatisation of a modern conflict, this late iteration of ancient تجلي الرماد struggles between Religion and Secularity, Christianity and Islam, Dominance and Freedom.

Florian Meyer back on BH, with ten minutes of gamelan psychedelia, subtly and tensely minimalist as Terrence Dixon at his best. On the flip, Dresvn takes more of a beeline to Detroit, fuelled by submerged classics like UR's Coinochime — cosmic, but deadly and unsettling. ('Gammel' means 'junk', in German. Maybe Magellan the explorer permeates that title, too, going round in circles in the East Indies, giddy and gammy below decks, amidst his trophy exotica.) Warmly recommended.

New Norwegian label Oblivion Dip outs two dense 15 min long tracks, both mixing field recording and sonic processing as if it would be captured live by an objective microphone from an underworld. A clattering & seemless soundscape of fridges, motors, birds from the Philipines and soft hissing atmospheres all the way through.

Pressed to 180g heavyweight vinyl. First 100 copies come on transparent vinyl. Artwork by Jazz Syu-Ying Chen, original drawing commissioned for the album. 'Compelling stuff' - FACT Magazine
Eomac is back in 2018 with a brand new album. After an intentionally quiet release schedule in 2017 to focus on developing a new label and presenting a monthly show on Radar Radio, he returns to the album format with the 11-track 'Reconnect'.

Eric Copeland (Black Dice) returns to DFA with a brand-new set of hyper and hectic leftfield club music. 'Goofballs' places its emphasis on playful melodies, ear worm hooks and vocals mixed with trademark machine funk rhythms that hit hard and land off balance. Any other way would be too obvious for an artist like Eric.

Eric explained the creation of this new album via email from his home on an island in lovely Balearic Palma Spain: i made it here in Palma at my studio, this is the first full record i've made entirely here since moving. some of this material was road tested September 2016 on tour supporting Animal Collective. This album was the result of real isolation here, countless hours, focused only on this. The whole recording & writing was a fast process. I focused most on the bass groove. I had a very minimal gear setup: 90's drum machine, cheap bass machine and a sampler. But most important was a homemade 'drum brain' that Barry's London custom made for me. Barry was in the Van Pelt Soldiers of Fortune & Oneida. That piece of gear was a big part of this record and informed the direction it took the most.'

Eric Copeland is a founding member of Black Dice as well as a prolific solo artist. Besides DFA, he has released albums on L.I.E.S., Post Present Medium and Paw Tracks.

Eric Frye is a Minneapolis, Minnesota, USA, based artist, curator, and composer carefully balancing the boundaries between sound, philosophy, and mathematics and tirelessly exploring the most remote possibilities of electronic composition.

Producing On Small Differences In Sensation' Eric dived into the mathematical concept of sheafification and came out with some of his most dynamic and generous works. The album includes a booklet with texts by French mathematician Andrée Ehresmann, Colombian philosopher Fernando Zalamea, and researcher Inigo Wilkins. It will speak directly to your ice-cold intellect and melt your mind all at once!

Coming from Italy by way of Berlin, Giorgio Dursi has fashioned an artistic practice where the familiarity of commonplace objects and voices fuse and contort into completely unexpected avenues of sound experience. In Intestinocephalo, his first release on Kraak, monologues languish into states of dormancy like an episode of intentional catathrenia and then expand, evolve and, finally, disengage. In order to project this tension within the amorphous, Dursi deploys electronics, horns, small instruments, vocals and, crucially, silence, constructing layers of free-flowing soundscapes and uncanny drones imbued with a growing sentience of their own.

“At the end of 2018 I entered a period of deep introspection due to several factors. On my desk there were texts on neuroscience, linguistics and music related to brain studies, evolutionary biology. I was also working with the manipulation of mental images translated into images of words which were subsequently manipulated and emitted through voice. It is a very simple process. Through exercising this process I was physically feeling the brain in movement, the chemical process of the creation and transformation of the mental images and the connection with the voice and the external environment. So I had this fixed idea of this organ that absorbs material from the outside environment, metabolizes it and then throws it out modified, through a hole. There’s where I had the feeling of a brain that is also an intestine and vice versa. A dualism of the rational high mind and the scatologic amorphous secretion. These are intuitions that I had for a long time, and are as old as human beings, but at that point it was something I was physically feeling

The Earth and the sky are the only entities that unite past, present and future. The man has always scrutinized the immensity of the space above him. Night after night, linking the bright stars together, the ancient populations of our planet imagined they could translate their myths and religious beliefs into the constellations, ordering today's eighty-eight and calculating with incredible precision, despite the meager tools available, both time and cosmic cycles. From the proliferation of superstitions to the establish of the sciences, the journey has been long and sometimes problematic.

The space only still 'imagined' with naked eyes, or observed with rudimentary telescopes, has slowly become 'conquerable' and, since the Sixties of the last century, at the center of an international competition between the two superpowers, the United States and the Soviet Union. From the first satellite launched into orbit at the man's landing on the Moon, successful facts have multiplied. The general attention was high, the stars were getting closer and closer, the media coverage was huge, the ideas became unlimited.

Many artists, at any latitude or longitude, tried to 'confront' themselves with spatial themes. The composer Giuliano Sorgini is among them. Some tracks of this unreleased album composed in 1973 represent, in fact, an attempt to fill with notes the distances that separate man from infinity, through 'itineraries' that do not indicate a precise destination such as, for example, Upwards, Outer and Thought. Others, instead, describe events that are impossible to be seized, such as Death Of A Comet, breathtaking landscapes to observe as you float in the air like astronauts tied to the 'umbilical cord' of their own spaceship, just think of Into The Space Immensity and Sweet Trance, even human and non-human presences, with the opener Man In The Space and the romantic Ufo as further demonstrations of the artist's genius. Each track tells what is possible, although invisible to many. Creativity compensates for reality.

The sounds of Giuliano Sorgini delicately invest the listener, favoring his immersion in a third dimension, in which elements of classical and electronic music, both with a strong communicative character, are merged and continually mixed up, between echoes and reverberations in the background. The prolonged repetition of tones and the almost imperceptible timbral variations don't hinder the harmonic weaving, explained by piano and flute, or obscure the psychedelic solutions adopted by the composer resulting from an appropriate use of the first synthesizers.

Going's third effort is a joint release by Silent Water and meakusma. Recorded in the span of one year in monthly recording sessions, it sees them venture off into an at times melismatic and contrasting contemplation on forward musical propulsion, 70s crossover jazz and minimalistic and at times downright futuristic electronic music. Over the course of two spun out yet concentrated pieces, light and dark are built into a mesmerizing musical reverie that is equally as contemplative as it is explicitly emotional and confrontational. Melodic as well as rhythmic accents diverge and coalesce with ease and poise, a subtle yet incessant throb defining everything throughout.

Hanno Leichtmann writes: "SY-4 was a four-channel sound installation I presented at the SYN/CUSSION festival in May 2017. It is a homage to my most beloved of electronic instruments: the SY-1 Syncussion Drum Synth by Pearl.

The installation, an 18 min loop, was made exclusively with recordings of the SY-1, with only a touch of reverb added here and there. SY-4 Berlin Mix is more-or-less one loop of the installation, in a stereo mix.

SY-4 Budapest Mix was recorded at 4D Sound, Budapest, during a residency in August 2017. For this mix I mostly worked with unused prerecorded sounds and samples of the SY-1, run through a ER-301 Sound Computer." - Hanno Leichtmann, Berlin, 15.ii.2018

Pinhas with Patrick Gauthier, François Auger and Didier Batard, from 1979; whilst Klaus Blasquiz' vocal spot adumbrates the links between Heldon and Magma, and runs back to his time with Pinhas in Blues Convention. The knockout here is Boléro, twenty minutes of sound and fury, lit up by the sequencers of engineer Didier Badez.

Previously unreleased, the three tracks on Pays Noir come from recording sessions held at the same time as those for the cult No Man's Land.Brimming with the same fervour as that LP, mainly on guitar and drums (but once again, not only...), Jean-Franc¸ois Pauvros and Gaby Bizien invent an amazing unbridled chaos of instinctive combinations. A kind of French no wave ahead of its time!

Holed away in Cosmic Resonance's basement studio/headquarters in Toronto, Jess (KTA) improvised freely over 8 straight early January days in 2018. The result was a free jazz, techno-addled synth orchestra too rich to know its own wealth of nuance. Slowly the layers began to be peeled away at KTA's home studio in Parkdale, Ontario, Canada. Glimmers of diamond-encrusted synth rays started to peak out from behind massive bass line clouds. Mountains, valleys, rivers, trees and a full landscape appeared. A world was discovered and it is MAHOGANI FOREST.Jessica Cho (KTA) has been creating buzz in Toronto's downtown dance music community with her live, improvised electronic music performances and multi medium DJ sets for nine years. A classically trained pianist with an intuition for improvisation and the sonic universe, KTA transcends the dancefloor into the astral floor. Her sound palette is vivid and technicolor, a timeless fusion of raw, fearless creativity and focus. Cho has proven her versatility in dozens of Toronto venues performing solo, and with former live house duo CHOBO. She has released a variety of tracks on labels such as Arachnidiscs, Architextures, Toy Tonics from Berlin, Secret Jams from Bulgaria, and her solo EP on Toronto's Mikita Skyy.

KRAMP is the solo project of Stijn Wybouw, a young artist involved in numerous visual and musical projects that often overlap and which share an unflinchingly honest approach, as well as penchant for crimson hues. As KRAMP, Wybouw assumes a red-faced identity to unleash raw machinations that take on ceremonial underpinnings through coarse compositions, murky drones, and warped vocalizations, all churned through the marshy fuzz of various tape recorders. After a slew of self-releases, KRAMP’s first wax outing
remains bound to a DIY ethos reminiscent of early 2000s noise and freakfolk undercurrents. On Nervous Rattles, the core is shaped by the original tapes themselves, their materiality evident through the process of flipping, tampering, layering and collaging, resulting in muddled interweaving textures that form a deranged tapestry of a near-ritualistic order. Chanting, breathing, moaning, howling and other bodily elements enter into a free-form dialogue with an indiscriminate array of instruments to create an open-ended, hypnotically shifting structure. A return to primordial zones, hearkening to the ungraspable eeriness of something both
familiar and mystifying.

'Serendipity' - defined as making discoveries or happy accidents - is the debut EP by Liam van Ryn. It's a fitting description for the richly textured and cinematic four track collection that was the result of intensive and prolonged sessions 'goofing around' on analogue gear. Strictly limited 12' pressing - this is a hell of a debut - one to watch for the future! 'The title track is the most immediately wonderful cut here, with choked arpeggios, clouds of caustic static and found scrapes as percussion.'
DJ Mag (8/10 EP Review)
Early support from:
Nathan Fake - 'Interesting lush sounds'
Lanark Artefax - 'Sounds great and is really coherent for a debut EP'
Tessela - 'This is wicked man, really like that Pitch1!'

Based in Hull, van Ryn makes richly textured and layered, cinematic music that is both experimental and (mostly) electronic.

'I was interested in the way I could make the music sound slightly unnatural, or like it couldn't be played by a real musician, even though that was often the starting point,' he explains.
An alumnus of Gilles Peterson's Future Bubblers project (a grassroots talent discovery and development programme), he was commissioned in 2017 by Hull City of Culture to write and perform a tribute to the pioneering work of local hero Basil Kirchin - an outsider musician, free-thinker and pioneer of sound manipulation.

Glasgow-based musician and producer Lo Kindre is at the heart of his local electronic music scene. He has previously released on Optimo Music and is a serial collaborator with MR TC, most recently launching the Phase Group label together. He’s played on Red Light Radio, LYL Radio, supported the legendary Adrian Sherwood, and put out records with the widely lauded Austrian label Neubau as well as Glasgow's 12th Isle.

Private Worlds is Lo Kindre’s most thoughtful and introspective release yet, seeing him reach once again for the spaced out dubby recesses of electronic music, adding-in a ladleful of drone and some choice samples to create something that sounds fresh and new.

Already a renowned live band on the London gig circuit, Lunch Money Life make apocalypse music, impossible to categorise, rich in texture, immersing the listener in a world of disgust and yearning. Their debut album 'Immersion Chamber' is the perfect embodiment of that. Full of foreboding energy, restless beats and agitated noise: it's mardy electronics married with tense jazz-tinged and combative drumming.

Lunch Money Life are Stewart Hughes (drums) Sean Keating (guitar) Luke Mills-Pettigrew (bass) Jack Martin (electronics/trombone) Spencer Martin (electronics/saxophone). A few years ago, Spencer wrote to 50 churches in East London looking for a job as an organist - one responded, All Saints Haggerston, where he still plays every Sunday. In a city where traditional rehearsal is near unaffordable, this was a lifeline for the band during its early, experimental period. It is the results of this period that make up 'Immersion Chamber'.

The band initially featured 10 members, a loose collective now (somewhat) sharpened ahead of album release, as documented in an electric Boiler Room set at the end of 2019.

Bubbling on the fringes of the London music scene for years, between them creating & sculpting Church of Sound, Total Refreshment Centre, Touching Bass & Tiff’s Joints. In the wake of 2018’s sold-out collaboration with Jamaican outfit Equiknoxx - Living3000 EP - the group has released lunchmoneylife STYLES™, a label compilation in the form of a cereal box, and Unlimited Ice Cream Palace EP on Kaya Kaya Records, featuring remixes by King Knut and Captain Terence McDonagh.

The album is coming out via Scenic Route. A label that started in October 2019 after beginning life as a regular south London party. Previous releases include Desert Sound Colony: expect more releases, parties and, in their own words, "there'll be a melancholic and introspective thread running through everything we release".

Stewart Hughes - drums
Sean Keating - guitar
Luke Mills-Pettigrew - bass
Jack Martin - electronics / trombone
Spencer Martin - electronics / saxophone

Mixed by Danalogue the Conqueror
Mastered by Frank Merritt
Artwork by Aurelie Michaud

Rutger Zuydervelt aka Machinefabriek needs no introduction - a hugely prolific electronic experimenter who has recorded for labels such as Type, Digitalis, Dekorder, Western Vinyl, and many many more, Where To Now Records are truly humbled to handle his latest collaborative work ‘Oehoe’. Produced in collaboration with viola / violinist Anne Bakker, a classically trained solo artist in her own right, and currently performing strings as part of Agnes Obel’s band, Machinefabriek here has sown a landscape of Anne’s raw violin, viola, and vocal improvisations into a stirring body of work which merges tradition, experimentation, and whimsical curiosity to create a distinctively unique album which is both deeply moving and playfully dissonant in equal measure.

Given that Anne’s improvised vocals are wordless throughout, it is to Rutger’s absolute credit that he has assembled and transcended these intonations to often devastating emotional effect. Anne’s vocal experiments exude a classical polyphonic antiquity, they lushly hover above her own Reichian minimalist string arrangements, and Machinefabriek’s deeply brooding, cacophonic synthesized soundscapes. Across these 10 pieces we delve into a world which seamlessly moves between a state of harmonious contentment; or a very murky calm, to moments of lively ecstasy, and deep deep down to a vast and brooding melancholy.

Anthems for misty trottoirs and empty clubs.

Milan W's new lp is here and it sounds like a comedown-classic which is way too funky to be an ambient record and has the power to cut as deep as any decent delta blues album.

His early nineties exotica creeps up on you in a good way. These sounds let your melted brain walk towards every light you can find in that dark tunnel. Every jam on this lp is well constructed and a bit more complex then usual. No worries, tracks are moving with their own elegant logic. Excess is trimmed away and the crispy rhythm programming is pulling you deeper and deeper into the melodic fog of heavenly layered synths. A certain songlike chemistry is never far away in these jams.

Sweet memories of early Warp-classics and Rephlex good old freshness come to mind (think early Autechre, Bochum Welt,...). The feel is less krauty and much more UK but definitely Milan’s. Digesting the old into something completely fresh. Ghosts of new beat are lingering on. Slowly but clearly Milan W slips away from the bar towards the floor. The groove is more uptempo and these tracks are built to make you move in both ways. You can definitely start smelling the club in here. Smooth but raw and pretty far from any big room stylistics. Ocean-dwelling atmosphere included.

RYSUNKU is proud to present it's newest signing, esteemed producer Noble Drew Ali aka Morell Maison. The artist will be launching the new signing with his debut EP 'Natasha'.
Though the artists own music production has hardly yet revealed itself, his presence within the industry has been far from unnoticeable. NTS Radio monthly resident and renowned as a substantial contributor to the artistic development of contemporary electronic music.With his debut EP, 'Natasha' , audiences will finally be able to experience the more personal outcomes of Noble's musical approach so far. Here we hear Noble Drew Ali exploring a sonic architecture of sweeping yet poignant baselines and fragmented percussion. The first listening experience to have evolved from Noble's cultivating musical journey. Lovingly pressed on an extremely limited run of 300. Five stunning tracks on 180g black vinyl featuring artwork by Gareth Horner. Rysunku is truly honoured to be releasing this music.

For Our first DEXT EP of 2019 we welcome Otik to step up for his follow up release to “Deep Red EP” that dropped on DEXT early 2017 , since then Otik has had solid release’s on labels such as Keysound recordings & Midlands Intergraded.

This EP see’s the London based Bristolian on the usual rugged form we have come to expect, with grimey broken beats lots off bottom end sub action and cascading synths. On The B – Side we welcome Bruce who reworks the lead track “Dioxide” into a wonky bassline roller guaranteed to cause maximum damage on the dancefloors in the early hours.

“Berceuse Heroique is very proud to announce that one of our biggest heroes is going to be our next release for this year. Pinch, one of the seminal members of the Bristol scene, is kickstarting a trilogy of 12"s that we call "an ode to sound system culture", trying to invoke the long lost spirits of pure, heavyweight, hardcore hedonism that stems from a lot of sub genres of British dance music culture. Border Control fuses the industrial aesthetics of Birmingham techno and the jungle techno pressure of the early 90's and in the end it sounds like a fight anthem against Brexit. Fortune Teller will test any soundsystem with that Dillinja-esque bassline and Loose Cables could easily be the younger brother of one of Pinch's most underrated tunes, The Attack Of The Killer Robot Spiders. Pinch runs the voodoo down one more time and he sounds pissed off and more fresh than ever.”

British producer Portrait next on Aura LTD! The label head returns to Aura Dinamica for Environments One. The project pairs paintings produced by the artist, with music inspired by the creative overlap between the two processes. Working back and forth between the two mediums, the artist builds up a conversation that looks at depth, texture and dynamism in both spaces.