Beats Vinyl New Releases - News

Distilling Sounds From The Now 70 Years Old Archive Of The Darmstadt Summer Courses For New Music, The Berlin Based Electronic Artist Hanno Leichtmann Presents A Stunning New Album Which Is Remix, Collage And Homage At The Same Time. Mastered And Cut By Rashad Becker At D&m.

On His Latest Work "nouvelle Aventure", Berlin's Hanno Leichtmann (who Besides His Solo Works Also Plays With Jan Jelinek And Andrew Pekler In Groupshow And Recently Released His 2nd Album With Valerio Tricoli On Entr'acte) Presentshis Very Individual Approach To The Task Of Remixing And Reworking The Imd Archive. As In His Previous Installations (e.g. "skin, Wood, Traps" For Haus Der Kulturen Der Welt, Celebrating The 100th Birthday Of The Drumset), The Electronic Artist Distills His Sound Material Exclusively From A Thematically Fixed Archive, In This Case: Concert Recordings, Lectures And Discussions Fromthe Now 70 Years Old Archive Of The Famous Darmstadt Summer Courses For New Music (stockhausen, Nono, Ligeti, Xenakis Et.al.). Originally A 6-channel Installation As Part Of "historage" At Mathildenhöhe Darmstadt, The Composition Is Here Presented As A 46 Minutes Stereo Mix. Leichtmann Sent Thesubjectively-chosen Sounds Through His Unique Machinery Of Voltage-controlled (micro-) Loopers, Re-recorded Them And Then In A Last Step Pieced Them Together In His Studio, Primarily Applying The Traditional Parameters Of Early Electronic (tape) Music (amplitude, Pitch / Speed, Playback Direction, Series / Cuts, But Most Of All: Repetition. The Result Is A Stunning Albumwhich Is Remix, Collage And Homage At The Same Time - And A Highly Psychedelic Affair, As Mirrored By The Amazing Artwork By Caro Mikalef (cabina).

Newcomer Hekla releases her uniquely beautiful debut album for solo theremin and voice Á through Phantom Limb Records - run and curated by former FatCat Records, Thrill Jockey and Royal Albert Hall execs James Vella, Ken Li and Mark Pearse.

A Berlin-residing Icelander, Hekla's sparse, delicate, fractal music exists within these two worlds: dark and magical as Iceland's permanight folklore; and (though beatless) as deeply sonic and intense as Berlin's electronic scene. A long-term scholar of solo theremin, Hekla (shortened from her own name Hekla Magnúsdóttir) uses her instrument as an otherworldly and highly evocative Siren-call. A spectral, wailing, howling, lamenting yearning second-voice that underpins a soft vocal delivery, as if her studio had been haunted with a chorus of ghostly backing singers.

While a handful of reference points share a similar ground to Á - Colleen's interplay of voice and instrumentation; the richly immersive filmscore work of sadly passed fellow Icelander Jóhann Jóhannsson's; 'grandmother of theremin' Clara Rockmore's close relationship with such a singular instrument; Julia Holter's intelligent and classically-aligned songwriting - Hekla's music still exists singularly. A one-off talent, emerging from no particular scene, ascribing to no particular rules.

As a creative tool, the theremin - bizarre, unique, rarely heard - can be expressive, intuitive and highly adaptable. In Hekla's hands, her instrument covers an enormous range, from skittering birdsong of high frequency chirrups and chirps, to grinding, tectonic sub-bass. We are given the throbbing, apocalyptic dread of 'Muddle' and the baroque beauty of traditional Icelandic hymn 'Heyr Himna Smiur' in sequential tracks on the album's a-side. Appropriately, she also writes that the album title - Á - is similarly multifaceted in her native Icelandic: 'a river is an á and also it means ouch like when you hurt yourself, and also when you put something on top of something you put it á (on) something.'

The album was written and self-recorded by Hekla in her home studio in Berlin around her son's daycare schedule. Icelandic super-musician Mr Silla (a part-time múm member) guests on a number of tracks. Tallinn-based engineer Jose Diogo Neves - a stalwart of Icelandic and Portuguese music - mixed and mastered Á.

James Vella formed Phantom Limb in June 2017 after eight years in A&R for FatCat Records. Mark Pearse (formerly head of contemporary music programming at the Royal Albert Hall) and Ken Li (formerly of Thrill Jockey, now of Nettwerk) joined the team shortly after.

Phantasmagoric sci-fi soundtrack styles from Swedish synth-fondler Johan Öhman Sollin, landing square between the styles of early 0PN, Hype Williams, and James Ferraro.
Marking his debut for iDEAL after more than a decade of trading as Johan Rohbau, Time Deleters, Knife and Ape, Minimen, and Sphinxes for a handful of secretive labels, J.Ö.S. draws from
classic pulpy '80s cyber-goth and video nasty horror soundtracks for a personalised and totally immersive suite of home-brewed, synthy hauntology.
Essentially relaying the sound of loooong Scandinavian nights where there's not much else to do other than frighten yourself to sleep, 'Ultra' perfectly connotes the clammy feel of '80s horror/
sci-fi soundtracks and their fixations with body horror, technology, and the occult, figuratively using tape recording techniques and embracing the infidelities of decay to conjure 10 bittersweet,
poignant scenes that could have feasibly accompanied the imagery of 'Decoder' or some John Carpenter knock off...

OVERVIEW: Synth chutes, synth ladders, popcorn 808 beats, dirge-y chants and busted sub-woofer hums from inner-galactic soul pioneers Nathaniel Woolridge and Anthony Freeman intertwine to create this hypnotic, mythical 1984 LP from Newark, New Jersey. The most damaged party record ever set to black, or the most partied cry of the heart ever howled into personal space. Probably both.

Yama Warashi is the vision of Yoshino Shigihara, a Japanese musician and visual artist whose past projects include cult favourites Zun Zun Egui (Bella Union), of which she was a co-founder. Inspired by Japanese folk dance, free jazz and tribal African music, and heavily saturated in psychedelia, Yama Warashi's songs are lyrically outlandish and charming, melodically addictive and mythical; the band name translates from Shigihara's native tongue as 'small childlike mountain spirit'
The new material is set to build on the success of Yama Warashi's 2016 debut album, 'Moon Egg', which won an eager fanbase and picked up high profile press and radio plaudits. Live, they have graced festival stages including Latitude, Green Man, WOMAD and Shambala, to add to support with the likes of Flamingods, This is the Kit and Dakha Brakha. Following another busy summer of festivals and headline shows, they will be embarking on a full album tour around the release in November 2018.
Originally from Ashiya city, near Osaka, multi-instrumentalist Yoshino Shigihara discovered her love of playing piano aged three, kicking off a lifelong musical curiosity. After a period of exploring other artistic avenues, she picked up the piano again on moving to Bristol and finding herself brimming once again with inspiration. Following the success of their early releases, in 2017 Yama Warashi were awarded funding from the PRS Foundation, and they recorded their new album with Ali Chant (PJ Harvey, M.Ward, Perfume Genius) at The Playpen in Bristol; they have hit upon a truly unique and impactful sound that sees Shigihara taking major leaps in compositional complexity, songwriting and artistic freedom, backed by an impressive and close-knit ensemble of talent. 

A fantastic voyage, from earth to space, through time or simply as the most beautiful and peaceful dive into the ocean. Old music transformed into something new, unique. That's special.

Akelarre' is the fourth studio album of Synths Versus Me. Its black (sadness) and white (happiness) design explain the concept and feelings behind it creation, majorly composed and written during the death by sickness of a very close friend of the duo to whom the album is dedicated, it swims between the positive and negative feelings felt by SVM during this hard process suffered. Is remarkable that in this occasion SVM counted with the collaboration of the british band The Underground Youth for a new remixed version of 'The Rules Of Attraction' originally released by TUY back in 2009. This special edition arrives on 2×12 EP format and produced in a ONE-OFF truly limited edition of 200 copies lacquered pressed on 180 gr. high quality black and white vinyl. All tracks have been specially mastered remastered for LONG CUT vinyl by Eric Van Wonterghem

Butterflies is a 12' EP compilation (1983-2016) by the Amsterdam based label Top Tape (founded 1986). On this release of 500 copies on yellow vinyl you find old and new work, old and young artists, like the talented Parrish Smith. There is also a great Restauration by Dunkeltier. The album has been remastered with care by Rude 66.

SN Variations is proud to announce the release of a new EP curated around the primordial and enigmatic music of Giacinto Scelsi.

Alongside a new recording of his intimate Duo for Violin and Cello, the EP features a new work by Chris Watson inspired by Scelsi's explorations of 'pure sound' and a breathtaking shakuhachi honkyoku performance by Joe Browning.

Born into an aristocratic family in Italy in 1905, Scelsi's creative peak arrived in the 1960s after years of research into Buddhist chant and other aspects of Eastern spirituality. His work languished in obscurity for most of his long career, but its pioneering investigations of microtonality and pure sound have exerted a deep influence on contemporary composers and electronic artists including Mica Levi, Richard Skelton and Fennesz. Against the crowded polyphonies of much post-war academic modernism, Scelsi powerfully advocated for the primordial and the esoteric, for the acoustic interplay of pure frequencies.

The Duo for Violin and Cello dates from Scelsi's most fertile period and was composed at the same time as seminal works such as Anahit and Elegia per Ty. Despite a modest combination of just two instruments, the innovative use of double stopping and extended playing techniques creates a huge, vibrating microtonal form. In this new recording, Aisha Orazbayeva and Lucy Railton execute a meticulous performance of this complex score.

Chris Watson responded to the piece with sculpted field recordings of insects made originally on a boardwalk in the middle of the Borneo jungle. Invertebrate Harmonics imaginatively links the pure sound world of Scelsi to pure sound worlds found in nature. This piece is from a larger installation work Notes from a Forest Floor, which was played first at the ICA last June as part of the event 'MusICA -Exploring Sound and Authorship'.

Finally Chris records a traditional shakuhachi honkyoku piece - Honshirabe - one of the pieces forming the historic repertoire of the wandering Zen Buddhist monks known as the Komuso. This performance by Joe Browning is one of exquisite subtleties, resonating with Scelsi's mature work while pointing to its widespread historical antecedents.

Few Crackles Present : Two tracks from the vault of a mysterious Russian producer. Polyrhythms dubs in the jungle soundscape of a Soviet Spy movie, with both spooky and melancholic atmospheres : we can't define more specifically what is all about in those two gems. We are thrilled to make them the first release on the label and hope you will get lost in them too

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.

Low Jack & Equiknoxx join Dominick Fernow's Rainforest Spiritual Enslavement on a new double vinyl expansion of 'Red Ants Genesis'.Recorded in winter 2017, 'Red Ants Genesis' finds the Hospital Productions boss discovering strength in collaboration following the triumph of his 'Ambient Black Magic' classic, which was conjured with the crucial assistance of Juan Mendez a.k.a. Silent Servant. Here, he works with Phillippe Hallais aka Low Jack and of Editions Gravats, who also tags in his pals Gavsborg and Time Cow from Jamaican digidub futurists Equiknoxx for a killer new version of the title track.
On the tape's original four tracks, Low Jack transmogrifies Fernow's high volume microphone recordings of synthetic field ecologies with masterful sleight of hand in-the-edit, resulting in a
hyperreal detachment and realignment of spatial proprioceptions executed with exquisite textural tactility. It's far more oblique and desiccated than the relatively lush 'Ambient Black Magic' outing,
rendering the stark durational immersion of their 30 minute 'Red Ants (Mics)' split over the first disc, while Low Jack's percussive edits really come into play on the utterly gutted 'Shields Ferns /
Brown Pine Magic' and the slow, febrile push of 'Papua Land (Live Edit).
No doubt one of the biggest attractions here is the curveball of an Equiknoxx remix of 'Red Ants Genesis'. Surely one of the first meetings of Jamaican dancehall and dark ambient in existence,
it's a spellbinding piece of dub physics that demonstrates the endless, mutable imagination of Gavsborg and Time Cow in haunting and deeply mystic effect.Unmissable.

"Where Were We" is the fourth solo release by Anthone for The Weevil Neighbourhood featuring three excursions somewhere in between abstract breaks and wonky techno.

Black vinyl in brown discobag. Center label design by Anthone. Mastering and Cut by LXC.

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.

Sunun has a luring command of dials and limbs and drum skins that's as grounded as it's mystical - these machines have ghosts in them. BetweenOoid's modulated insect noises and crushed cymbals there are stories of when & why things were recorded that adds an aching humanity to the 5 machine dub pulses on her first official release. People who've seen her live have witnessed Sunun's forest of wires and microphones and harps all feeding her 20 channel desk. She dubs it old-world style, but the results are always forward - making a 22nd century chorus from thousands of years of human feedback. The Sunun ecosystem is perfectly synthesised in Max Kelan's unsettling VHS body-shot for 'Dark Just', filmed on location in Western Super Mare (mostly Pier 2).

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.

Slathering at the heels of Low Jack's much sought-after Riddims du Lieu-dit and Clara!s reggaeton bomb Meneo, Antinote's Iueke moonlights with a body-gurning batch of mangled technoid bombs for Low Jack and co's killer Les disques de la Bretagne series.
The last we heard from the Antinote co-founder was on a series of archival 12's for his label issued between 2012 and 2015, as well as on a pair of completely unclassifiable mixtapes for Demdike
Stare's DDS label released over the last couple of years, but Champion features his first new recordings in perhaps over a decade and, true to form, they're not at all what we were expecting.Champion (Version) deploys a a super rugged swing and recursive digital noise coming off like T++ and Gescom programming daggering robots, while Zonck brilliantly recalls Autechre's remix of Lexis' Hypnotise - all achromatic, dense, percussive madness that again brings to mind T++, or
more specifically his Dynamo gear.Dem A Burning is more glacial and spacious, swilling the dance with caustic acid noise and
sloshing subbass in deadly, futurist style recalling Timeblind's much overlooked but completely ageless Rastabomba session, before Polxat expends his restless energy in a properly Autechrian
madness.
Pure fiyah.

Almost in time for the third anniversary of Japan Blues' show on NTS radio - a monthly Japanese musical nabemono, occasionally straying into other Asian territories.

The self-released album's six tracks form an atmospheric Nipponese travelogue, with some underbelly tourist spots taken in on the way. The track-listing is printed on a lovely hand-made paper insert, to confound the download card fetishists.

Orders may be rationed, as stocks are limited.

Second release by Japanese artist Kosei Fukuda from his own platform. Great atmospheric sound scape with Japanese precision. Minimalistic Experimental IDM Techno. Including one Digital Bonus.

Les Editions Japonais, is a new label to showcase Japanese artists new and old, the first release is by Tokyo based band Kufuki.

Kufuki, was formed in 2010 by Ryuichiro Konno (electronics), Motomasa Saito (electronics), Tosimasa Matsumoto (vocals), and Yudai Nobunaga Kogawa (vocals,VJ, electronics), hailing from various musical genres, ranging from techno, rock, blues and hip-hop. Tired of formulaic club music, they set out to create their own electronic ethnic music, firstly taking influences from places they had travelled, but more recently concentrating on electrifying minyo, or traditional Japanese folk music.

MInyo has an ageless tradition in Japanese culture, mainly work songs - for example, sung by field workers and fishermen - and regional tributes. Passed down over the centuries by performance at seasonal festivals, they are often accompanied by dance. These traditions prevail, and many songs are familiar to a large proportion of Japan's population, young and old.

Kufuki have already released two albums, the self-released "Fukamidori" (2010), and "Kufuki', on the Wonderyou label (2012). Favourable reviews appeared in Japanese, American and European web magazines: Bad Alchemy Magazin (Germany), Loop (Chile), Sound & Recording Magazine (Japan), Hemisferia (Colombia) and more. They toured South Korea in 2013 and Europe in 2014, taking in Germany, Portugal and the UK. This year they are planning another European tour.

The band's singular sound is a rollicking rendition of minyo, using the driving work-song rhythms as a background to their call and response vocals, and phalanx of decaying synthesizers, all in a pentatonic key.

Torobayashi is a 20th century folk song, originally released in the early 60s by Masao Suzuki, as part of the original wave of popularised minyo. Akusejima is much older, named after the tiny remote volcanic island in Kagoshima. And, tucked away on the B side is a cheeky dancehall-tinged re-work of Torobayashi by Japan Blues.

The 4 track 12' comes in black disco bag, with label artwork by Motomasa Saito, and with a washi (Japanese paper) New Minyo sticker.

Since So Many European Labels Have Been Reissuing Lost And Obscure 1980s Japanese Ambient Albums Of Late, It Was Probably Inevitable That At Least One Label Would Put Together A Compilation Paying Tribute To The Sound. It Turns Out That Jazzy Couscous Has Won The Race With Kumo No Moko, A Superb Double Album That Does A Terrific Job In Putting Japan's '80s Ambient Scene In Context. As You'd Expect, The Majority Of The Tracks Feature Either Dreamy Electronic Sounds Or A Mixture Of Acoustic And Electronic Instrumentation, With Nods To Jazz Coming Thick And Fast. There Are Naturally A Couple Of Fairly Well-known Names On Show, But For The Most Part The Compilers Have Done A Terrific Job In Highlight Lesser-known Tracks From Unsung Heroes.

Osaka based producer 7FO. Having previously released a cassette on RVNG International, and a 7'' single on Bokeh Versions in 2017, this is the Japanese producer's debut full length vinyl release. The tracks, recorded between 2012 and 2017, have been tweaked, remastered and recorded to vinyl for the first time.
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The mysterious figure recorded the tracks at home, processing guitar sounds, using a sampler, synthesizer and junk equipment. Following in the footsteps of the ambient giants of his native lands, 7FO's music continues this illustrious heritage whilst offering something fresh, modern and beautifully rendered. He describes his own sound as 'gorgeous sustained tones and dreamlike oscillations that drift through the inorganic/electronic world reverberating through our subconscious creating sonic fables in our minds'.

The 12'' comes with artwork designed by label head & visual artist Jack Hardwicke. To accompany the release Greek filmmaker George Kountouras, who also collaborated on the artwork, has directed a gorgeous video for the title track 'Moment'.

Peter Fonda is a New York based producer, DJ and promoter most notably known for his Drum Machine Circle and Keep Away From Children parties on his home turf amongst a track on a Lives Through Magic double cassette compilation alongside Daphni, JD Twitch, Pantha Du Prince and Patricia. Here we see him make his debut on New York's Parka following on from the first two EP's courtesy of Abu Ashley and Milo McBride.

Minimal multi-instrumentalist weirdo zone brilliance on another obscure uncovering from the excellent Growing Bin...big tip!
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"If you've kept a keen ear to the underground, you may have noticed a trance revival creeping into the dance floors and darkrooms of late, a post ironic return to the 64 bar breakdowns and peak time key changes of your serotonin drenched youth.....

So what's this then Has Growing Bin gone from groundbreaker to copycat Dig a little deeper folks, for the Trance is question is Jürgen Petersen, a forgotten cosmic kingpin in tune with true electronic excellence. When Danielle Baldelli wanted to show off his eclectic tastes, which record did he reach for Petersen's 1980 LP, 'Here And Now' of course. And when John Schaefer put together his essential exploration of New Sounds, who did he describe as Germany's answer to Eno Trance, damn right! After blessing the world with a trio of essential electronic LPs between 1979 and 1983, Petersen moved out of the limelight and lived off the grid, collecting his mind expanding music on a series of self-recorded, self-released cassettes, known only to the inner circle of elite European diggers. The sounds found within were unusual, experimental and ecstatic.

Fusing the organic tones of piano, 12 string guitar and sitar with soothing sine waves and hypnotic synthesis, Petersen harnessed the healing frequencies out there in the cosmos and transfixed the
listener with pure otherworldly beauty - ambient music for a new age... Unravelling these rare cassettes for music lovers everywhere, Growing Bin treats us to 'Tapes', a five track vision quest for the
horizontal travellers and fourth world nomads. Sven can keep his cocoon, we're off in search of the butterflies..."

Universal Eyes Ist Eine Experimentelle Noise-supergroup Der Detroiter Formationen Wolf Eyes Und Universal Indians, Bestehend Aus Nate Young, John 'inzane' Olson, Aaron Dilloway (pan, The Trilogy Tapes, Dais) Und Gretchen Gonzales Davidson (ex-slumber Party-mitglied/kill Rock Stars). "four Variations On Artificial Society" Ist Das Ergebnis Ihrer Reunion, Aufgenommen Und Produziert An Einem Wochenende Mit Der Detroiter Underground-legende Warren Defever (his Name Is Alive/4ad) Und Gepresst In Superlimitierten Auflagen. Cd Im Jewelcase, Lp Auf Farbigem Doppelvinyl Mit Download-code & Poster. Die Lp-erstauflage Erscheint Auf Weißem & Colaflaschen-klarem Vinyl, Eine Spätere Auflage Mit Roten Und Violetten Farbspritzern.

guerrer@ represents the revolution that must occur (and keep occurring) within oneself, so that it may also occur outside oneself. of looking backwards and forwards, simultaneously and always. of accounting for present and potential material makeup. of accounting for the contemporary abhorrent and luminous actions of the flesh. a pledge towards infinitely malleating--and, thus, the necessary deliberate reconfiguration of--identity. the necessary deliberateness of movement and becoming. the possibility of convalescence. insomanywords: faith, hope, affliction and anger, daggered at oppression, wherever it may be found.

Rólant av Reyni is an electronic producer from the Faroe Islands. Under his moniker, Hús, Rólant's productions are at times hazy, melancholic instrumentals that would fit a Sofia Coppola dream sequence and at times dark and bleak tinted by London's Deptford where his debut long player Nevember was written. Peering out from underneath saturated beats, Hús forges soundscapes with the harmonic sensibility and grace of Niels Frahm and Boards of Canada and the desolate undercurrent of Burial.

Dirk P. Haubrich's peculiar sound first caught Quanta Records' attention in 2016 during a night dedicated to Jirí Kylián, the Czech former dancer and contemporary dance choreographer, at the Opera Garnier in Paris. A few weeks later, the first steps were taken to set up collaboration between the artist and the label. The process was organic and lead to the release of Dirk's first official record: Robinson Out Of Context. This seminal work is made of two pieces: 'Robinson Out Of Context' and '7 to 8'. These compositions are meant to accompany choreographies respectively by Bruno Listopad and Shen Wei.

With a career spanning over twenty years, Dirk P. Haubrich has built an impressive discography and a characteristic auditory identity. His quest for deeper and more diverse arrangements has been an inner drive and a defining process for him. Among the myriad of tracks that Quanta Records had the pleasure of discovering, two were selected after an intensive formatting to adapt them to the 45rpm standard.

This record is challenging and requires a lot of attention from the listener since the composition, rhythms, atmospheres and textures have been minutely fine-tuned. As the record unveils itself to its audience, the listeners will discover a smooth and perfectly mastered composition that develops into a journey through its two separate pieces. The German artist's diverse soundscape intertwines long drone and ambient sequences with percussions and broken beats that offer an ideal opportunity for reflection and contemplation. The details incorporated in this rich and intriguing work are an invitation to get lost in the sound and to escape.

The creative process behind this record, from the composition in Berlin to the mastering session with Rashad Becker, allows for Dirk's art to be transposed from ballet stages to different spaces for a wider audience to discover and appreciate sounds that bridge gaps between experimental, ambient and electro-acoustic.

NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS...

* Breaking into a new century, following last months 100th release on the label, Ishan Sound collaborates on 2 killer tracks with Bristol-based Hodge and Alex Hughes aka Muttley.

* 'C5' refers to cold explosives and makes for a perfect title for this stark, cold rhythm. A circling melodic synth line sets a moody context before the floor drops out and an industrial strength sub drives things forward at 130bpm. Deep, hard, dark, original. Exceptional quality from Ishan Sound and Hodge.

* Flip for a 140bpm excursion from Ishan Sound & Muttley, melding elements of trap, grime and dubstep meticulously to form an engaging sonic that is both fuel for the dancefloor as well as providing introspective qualities for bass weight meditation. 'Still Smoking' sums it up appropriately.

Mickey Pearce is back in business with 'One Hundred Smiles', a new album of swaggering UK club music experimentations, and a new label Box Of Toys.

His first album, 'Michael' (2016), saw him exploring new territory; crafting a strange and melancholic landscape of beatless textures and leftfield house and techno. Approached with a fresh perspective, 'One Hundred Smiles' slows the tempo and ups the collaboration.

'The last record was a reflection of my situation around that time. This one is like stepping out from under a cloud. It's about the joy of collaboration; meeting and working with new people. It's also about the ambiguity of smiles, and the complicated relationships we form.'

The album features appearances from rising UK talent Poté, Taiwanese vocalist Meuko Meuko and Greek electronic pioneer Lena Platonos.

'Poté is a crazy talent. We've done a bunch of sessions and made a load of tracks, two of which ended up here and one of which is going on his next record.

Meuko Meuko is an artist from Taiwan. We communicate entirely via Instagram. She'd send me translations of the lyrics in Instagram messages, but I'm still not sure if I've chopped them into any sort of sense. The instrumental was called 'Slime', and she misread that intentionally or unintentionally to mean 'smile' and sent me all these crazy lines about 'your lovely smile' and it was just perfect. I love her.

Lena Platonos is a legend, and someone I was honoured to work with. The day she told me she had been playing and enjoying the record around her friends was a good day.'

'One Hundred Smiles' is the first release on his own label Box Of Toys. The label is named the same as his 2017-2018 radio show series, which featured the album's guests as well as Randomer, Machine Woman, Airhead, The Maghreban and Object Blue.

'One Hundred Smiles' is released on LP and digital via Box Of Toys on 2nd November 2018.

The act of escaping that which is predestined. / A hustle. Reto A Ichi is a sonic tabula rasa for Guillermo Herren AKA Prefuse 73. There are identifiable elements of the artist you already know - an uncanny sense for rhythm, an ability to shape samples and frequencies like clay, an affinity for the subtle changes of repetition - yet this is first and foremost music born from the need for silence. There is no easy entrance point or index for the listener.

The first album, The Lapse of Exchange, is the sound of life as heard from a small Chinatown window in downtown Manhattan, the thunder of populism on the horizon. The album opens with music that reflects the inherent tension between the life of the artist - the self-doubt, the late nights, the aspirations - and the world outside - the hustle and bustle of a city that never sleeps, the wars abroad, the politicians at home. It's a tension felt in the repeating, circling keys of "Let The Pianos Freeze", the pulsating rhythms of "No Juntos", or the call and response of pitched vocal samples in "A Sword In The Rain". Ultimately it all becomes too much for our unwitting hero: the car horns outside the window, the 24 hour news cycle, the early stages of an election that tears down any remaining semblance of normality. Reto A'ichi can no longer grasp his humanity or connect to that of people around him.

With the walls closing in, he packs his small life and escapes.

By the time Twin Peaks' second season had aired and Fire Walk With Me had just begun principle production, Thought Gang had been born. The esoteric jazz side-project of David Lynch and Angelo Badalamenti evolved from the seeds of Twin Peaks' trademark slow cool jazz and blossomed into more experimental pastures: horizonless vistas of acid-soaked free-jazz, laced with spoken word narratives and sprawling noisescapes. Fire Walk With Me's soundtrack would ultimately showcase two preliminary tracks ('A Real Indication' and 'The Black Dog Runs at Night') from a full-length album that wouldn't see release for two-and-ahalf decades. Beginning in May 1992 and continuing throughout 1993, the bulk of the remaining material for the album was recorded in pieces, and dove-tailed into a string of contracted sessions for other Lynch-Badalamenti projects.

In the years following, fragments and working versions of Thought Gang material would make appearances in everything from a Lynch-helmed Adidas commercial to scenes in Hotel Room, Mulholland Dr., Inland Empire, deleted scenes from Fire Walk With Me, and most expansively utilized in Showtime's third season of Twin Peaks.

By the time Twin Peaks' second season had aired and Fire Walk With Me had just begun principle production, Thought Gang had been born. The esoteric jazz side-project of David Lynch and Angelo Badalamenti evolved from the seeds of Twin Peaks' trademark slow cool jazz and blossomed into more experimental pastures: horizonless vistas of acid-soaked free-jazz, laced with spoken word narratives and sprawling noisescapes. Fire Walk With Me's soundtrack would ultimately showcase two preliminary tracks ('A Real Indication' and 'The Black Dog Runs at Night') from a full-length album that wouldn't see release for two-and-ahalf decades. Beginning in May 1992 and continuing throughout 1993, the bulk of the remaining material for the album was recorded in pieces, and dove-tailed into a string of contracted sessions for other Lynch-Badalamenti projects.

In the years following, fragments and working versions of Thought Gang material would make appearances in everything from a Lynch-helmed Adidas commercial to scenes in Hotel Room, Mulholland Dr., Inland Empire, deleted scenes from Fire Walk With Me, and most expansively utilized in Showtime's third season of Twin Peaks.