Beats Vinyl New Releases - News

Form A Log / Moth Cock split LP. Packaged with insert. First edition of 300 copies. Mastered by Patrick Klem and manufactured at Gotta Groove. Artwork by Sam Nigrosh (Grasshopper, Potions, Oozing Wound)


Includes unlimited streaming of Form A Log / Moth Cock - split LP via the free Bandcamp app, plus high-quality download in MP3, FLAC and more

Form A Log is: Noah Anthony, Ren Schofield, & Rick Weaver
Moth Cock is: Doug Gent & Pat Modugno
Artwork by Sam Nigrosh
Mastered by Patrick Klem

In The Third Of The 'phobiza Trilogy' We Are Invited Through The Ethereal Haze That Separates Our World From Ramzi's Flourishing Kindom. Guided Always By The Deity's Music, We Are Given Passage Through The Arcane Archipelago That Ramzi Calls Home, A Place Where Animals, Children And Wild Spirits Share Territories And Cooperate In Harmony In Their Plight To Protect These Ancient Islands From The Ceaseless Threat Of The Great Grey Invasion.

With The Night Closely Following Us, We Are Welcomed To These Lands In Dusk's Light, With The Warm Tones Of 'bibwel' (featuring Asaël Robitaille On Synth) Carrying Us Across 11 Different Islets, All With Unique Climates, Flora And Fauna. After Travelling For Many A Sunrise And Sunset We Take Pause At Mid Day On 'det Calash' Isle (with Some Beats Provided By Regular Fantasy). We Ending Our Journey With A Final Sunset, This Time On The Foggy Island Of 'warhasu' (recorded On Vancouver Island With Hashman Deejay).

Amor Fati (meaning love Of Fate' Or love Of One's Fate' In Latin) Comes As The Inaugural Release On Phoebé's Own Fati Records And Is The New Nesting Place For Ramzi And Its' Extended Family. The Record Ends The 'phobiza' Story, Following 'phobiza Dia' On Total Stasis And 'phobiza Noite' On Moodhut.

NNA is honoured to be releasing the latest full-length solo recording from Anthony Child, UK electronic music legend perhaps best known for his forward-thinking techno production as Surgeon. A native of Northamptonshire England, Child has been at the helm as a DJ, writer, and producer of electronic music for nearly 20 years, creating works for reputable labels such as Counterbalance, Tresor, and Downwards. Aside from dancefloor-commanding techno, Anthony has also been creating a private collection of tone-based experimental works over the years, much of which have become the backbone for his latest solo album. 'The Space Between People And Things' finds Child revisiting his collection of unreleased experimental studies from the last 16 years, collaging them into an entirely new framework. Using a sound palette reminiscent to his techno works, Child focuses in on the molecules within the sonic textures and frequencies, delicately emphasizing the negative space that surrounds them. These sounds are then intensified to form vast new worlds, enveloping the listener with bright, crystalline detail and clarity. These two side-long pieces seem to exist and not exist simultaneously, filling the listening space as an almost physical presence, to a point where they blend harmoniously with the air that surrounds you. The brainchild of intense focus and exploration, this record serves as an artifact that gives the listener a very personal glimpse into the mind of one of electronic music's most creative producers. According to Child himself, this record 'consists of location recordings, tonal experiments, and thought-forms from many different positions in space and time. It is the sound of the space between people and things.'

Like Basinski's tape loops morphing over time, appropriation loops are recurrent, fluctuant feedback loops in popular and unpopular culture. Rae Sremmund talks about how they're the new black rock stars with guitars in 2016's 'Black Beatles', but The Beatles appropriated black American rhythm and blues music from the American South to begin with. Kraftwerk's mechanic interpretation of Motown hits of 60s and 70s Detroit was later echoed by Detroit techno producers who subsequently put the funk back in it and made it more minimal. Detroit techno, for one, could never have been without the device of appropriation...but the device is often misused. People want to know where their chicken comes from (free range ,grass fed, no antibiotics ) but they don't want to know where their music comes from. Where does it come from Trace the appropriation loops to find out...

Bringing electronic music to the physical realm, genre-bending drummer Ian Chang is set to release his debut EP 'Spiritual Leader' this September via Kowloon Records. An acclaimed drumming virtuoso known for his work in Son Lux and Landlady, Chang uses his kit to control and manipulate samples resulting in a seamless synthesis of raw performative intensity and sophisticated sound design. The process began in 2015 when Chang was beta-testing Sunhouse's Sensory Percussion, culminating in a psychedelic light show of a video and track entitled 'Spiritual Leader.' Since then, Chang has honed his creative voice in gearing up to release his debut with Kowloon Records. The EP explores the relationship between human and machine, exuding an intuitive physicality meshing off-kilter rhythmic ideas with hypnotic textures and exploring the edges of IDM, ambient, free jazz, and much more with futuristic creative abandon.

This production is a collaborative effort of Jakarta-based DIVISI62 and DISK (Berlin). It features 4 tracks by the constituents of DIVISI62. All artworks were delivered by DIVISI62, the covers were silkscreen-printed in Bandung, Indonesia and the inner sleeves are stamped in Berlin.The approach to rhythm and dramaturgy on all tracks is rather unique and original - and so are the samples used. DIVISI62 draws from the rich musical heritage of Indonesia in terms of rhythm and sound yet the producers are heavily influenced by global club culture and bass-music. This combination adds up for the most intriguing listening experience: Strange virtual spaces mixing with all-too-real ones, creating a hyperreal spacial feel in which musical structures unfold in a highly unpredictable and deeply entrancing way!

We are both pleased and proud to be releasing a new album by Mayerling, 'Roche'. More than five years have gone by since we collaborated with the talented musician behind the project, Sylvain Bombled - who, like HITD itself, hails from Besançon, France - and put out his first brilliant album 'Cut up'.

It's more electronic and bold than the first album... less traditional, more adventurous. The guitar has given way to synths and other analogue sequencers. As for the vocals, they have all but disappeared, as though the listener should be left to be totally taken in by the beguiling, trippy graphic powers and cinematic quality of the new compositions. These ambient hymns reveal something new to the listener with each playback. The rich production and fine details guide us through arid, solitary lands, striking us like the midday sun in Death Valley.

'In recent years I have been researching old Japanese culture and customs in order to deepen my musical production. I found that, countless times, we still don't see through it as a whole. I am still excited to find that there are many untouched roots yet to be discovered which only motivates me to pursuit my research further.
As I dig deeper, I'm always struck with the general idea that 'everything has its own ground', otherwise known as rigid ideas and concepts.

Indeed, it is important to have a clear ground to explore things from. Especially as our times are overloaded with too much information, things which are spoon fed to us will always be short lived, so for me it becomes a case of those rigid ideas becoming less flexible.

One of the many benefits of computer music is being able to separate it from history/traditions and allowing you to simply enjoy mixing sounds and concepts, regardless of its original meaning. By being free from 'having to' make sense we can make creation much more enjoyable.

When I made this album I put my priority in freedom, rather than being stuck with those rigid ideas and concepts. This way I could really enjoy and get deep into the 'mixology' of it all.
Like my other works, Japanese is always a fundamental motif and I envision it like an imaginary radio drama by adding spontaneous dialogs throughout.

I will be happy if listeners pay attention to these (and other) details and enjoy listening to my work.''
- Sugai Ken, 2018

Gamelan and capoeira in dub. The collective behind this doesn't like to talk much but their music is beautifully conversational. De Leon is the most organic and percussive of their shifting identities, developed on their Aught project in small-run, clear-shell cassette tape releases over the last few years.They've appreciated a cult interest for their takes on outernational rhythm, field recording, and the tension and relief on the knife-edge of dance music; all delivered with an impressive commitment to anonymity and clarity of vision through cut-and-dried aesthetic minimalism.These six pieces of music seem formed from wood, metal, air. Dramatic, balletic flourishes and tightly woven interlocking patterns are embedded in slowly changing and "live" atmospheres. The shadow of a hand over the mixing desk makes gradual adjustments to alter the pressure and dimension of the space.Lean, organic, percussive, warmly engaging. A cracker. Bim.

hand-numbered clear mint vinyl LP in spray-painted sleeve limited to 200 copies (comes in different coloured sleeve, we cannot guarantee which one you will receive)

A lucid, dynamic, atmospheric trip through consciousness, incorporating an incredible range of texture, tone, and three-dimensional space. This is a glimpse into the most emotive, most personal of Dead Fader's extensive work. There are delicate moments of introspection, furtive agitation, and exuberance, all tightly interwoven into a singular, enthralling whole.

G.I. Gurdjieff was an Armenian and Greek philosopher, spiritual teacher, and musician, whose teachings of The Fourth Way influenced thousands worldwide and created communities that still exist to this day. His goal was to teach humans to reach a higher consciousness out of the "waking sleep" he considered most to be living in. Music was an important part of his teachings and these brilliant harmonium improvisations were recorded in 1949 in Paris, just a short time before his death. Droning and ethereal, these beautiful pieces mark a pinnacle in the work of a legend of human spirituality.

EIMERT, HERBERT - EPITAPH FÜR AIKICHI KUBOYAMA/SECHS STUDIEN
Herbert Eimert was a German music renaissance man, with his expertise ranging from theory to composition, editing, radio production, and criticism. He wrote numerous books on music theory, worked for years at the British occupational forces run Nordwestdeutscher Rundfunk. It was there in 1951 that he established a studio for electronic music that he ran until 1961, which hosted recordings from Stockhausen, Xenakis, and Cardew, among others. This brilliant work begins on side A with 'Epitaph Für Aikichi Kuboyama', a brilliant piece of voice and electronics dedicated to a Japanese fishing boat radioman, who lost his life from complications related to radiation poisoning in 1954, after the ship he worked on was contaminated from fallout after the USA's nuclear testing at Bikini atoll. In addition to being a brilliant piece of electronic musique concrete, it is a damning indictment of nuclear warfare, as prescient now as it was during The Cold War. Side B is made up of six studies in electronic music, showcasing Eimert's talents which are as impressive as his more famous contemporaries. Essential early electronic music.

'La Camera Astratta' is the result of the amazing collaboration between Piero Milesi and Daniel Bacalov with the experimental theatre-performance of Studio Azzurro and Giorgio Barberio Corsetti. A presentation of immersion in a dimension devoid of gravity, concerning a soft, ethereal, articulated and perfectly interpenetrated reality. It's an evocative ambient soundtrack, with rhythmic cadences, soft and repetitive, full of airiness; the music expresses the scenic aims and investigates and reproduces their sensations, marking the engendering of silences and melting moments of higher performing tension. The general architecture reaches a balanced combination between the whispering power of the voices, the electronic modulations, the rhythmic inserts and the aquatic and biological samples; each of those elements analyze the narrative intention of an almost microcosmic-embryonic exploration of the inner space-body. A creative music work of which the stylistic form proves persuasive for its possible fabulous nocturnal suggestions and for its vibrational quality that concerns psychophysical involvement; a calm meditative experience that invites us to quietness and to the fading union of something that was previously split and broken within us.

Scored for Maurice Béjart's choreography to the 'Orphée Ballet', based on the Greek god Orpheus, this is one of Pierre Henry's finest works of musique concrète, the genre in which Henry was an early innovator and to which he devoted his career. After years working for the French national radio (RTF) and honing his studio chops on radio spots and editing/composition, Henry formed his own studio in 1958 and began working on modern dance and ballet and soundtrack work. Incorporating percussion, industrial soundscapes, nature sounds, spoken French narrative, and synthesized tones, 'Orphée Ballet' is a beautiful piece that, while less known than what is perhaps his most famous work, also for Béjart's ballet production, 1967's 'Les Jerks Électroniques De La Messe Pour Le Temps Présent Et Musiques Concrètes Pour Maurice Béjart', is equally compelling and groundbreaking. Following his passing in 2017 at age 89, Henry's work has found renewed interest, and this is a welcome reissue of one of his rarest and finest works. Truly brilliant.

The third episode of the alchemical association between Roberto Musci and Giovanni Venosta, reprinted for the first time by Soave Records in an elegant edition in double vinyl in gatefold cover. This work seems to be even more enigmatic than the previous ones. The "plunderphonics" style of the compositional process, significant to allowing a technical experimentalism of inexhaustible variety of materials used (compendium of sounds, harmonies, ethnic timbres) and the infinite possibilities of assembly between non-sense and provocation, still remains. We are almost stimulated to guess - in the articulated sound architectures of the tracks - every single fragment of popular or cultured music from every part of the world (Asia, Africa, Middle East, South America) related to the ad hoc inserts of polyphonic instrumentation distorted and dazed. The music expressed is basically a polyhedral pataphysical gaze on the complexity of the existing, an immersion in the contradictory forces of reality; the attentive listener will be able to recognize the tortuous and magical lines of a free and imaginative artistic creation, which is absolutely counter-current and unconventional.

AUDREY CHEN's long-awaited new solo album "Runt Vigor" is an adventurous sonic exploration of the voice, cello and analog electronics.

AUDREY CHEN began her relationship with sound through the cello and voice over 30 years ago and since the past 15 years, her predominant focus has been her solo work, joining together the extended and inherent vocabularies of the cello, voice and analog electronics.

More recently, she has begun to shift back towards the exploration of the voice as a primary instrument, delving even more deeply into her own version of narrative and non-linear storytelling. She derives her sound material in continuous process, championing the "in-between" and overlooked. Regardless of instrument, CHEN's mode of experimentation touches both the abstractly beautiful and the aggressively unsettling, creating a kind of curiously imagined architecture, non-prosaic song or ritual that reaches beyond gravity or language.

Recent projects, aside from performing solo, includeher long running voices duo with PHIL MINTON, duos HISS & VISCERA with modular synth player RICHARD SCOTT, BEAM SPLITTER with Norwegian trombonist HENRIK MUNKEBY NØRSTEBØ, and the "romantic noise duo" AFTERBURNER with DORON SADJA (electronics/light projection). Past projects include work with German conceptual artist JOHN BOCK, a duo with NYC abstract turntablist MARIA CHAVEZ, and a quartet with NATE WOOLEY, C. SPENCER YEH and TODD CARTER that released a LP on MONOTYPE. Hernew projects include a double duo/quartet with BEAM SPLITTER and STREIFENJUNKO's, EIVIND LØNNING and ESPEN REINERTSEN and MOPCUT with LUKAS KÖNIG and JULIEN DESPREZ.

Enigma - Le Roi Est Mort, Vive Le Roi

Dark minimal synth electronics & experimental sounds by LOS INICIADOS, a mysterious project - highly influenced by The Residents - related to legendary Spanish synth-pop band AVIADOR DRO.

This is their rare and sought-after second album, originally released in 1983 on the DRO label as the soundtrack to a puppet stage play, based on ALFRED JARRY'S 'UBU ROI'.

Recorded during two Redbull Sessions in Paris, this four tracks EP, Royaume, is all about the joy of musical collaboration. Agnès Gayraud invited two musicians she admires: Lætitia Sadier (Stereolab, Laetitia Sadier Source Ensemble), cult figure of the indie scene since the 90's, and Mondkopf, adventurous electronic French composer. The result is a delicate and at the same time raw FrenchEnglish journey, in a balance between two languages, two different moods that eventually link up in some underground and fascinating passages. We are snatched, unresisting, with « À la divinité (The Belief Song) »'s mysterious mood, featuring Lætitia Sadier, or the English adaptation of La Féline's song « Le Royaume ». In the end, while they cover the obscure yet powerful composer Gérard Manset's « Comme un guerrier », La Féline and Mondkopf seem to literally crack the whip on the back of the horses of the Apocalypse.

Apart from being known for founding the infamous vinyl imprint Subaltern Records and for his residency on SUB.FM, Gabriele Romeo aka. Mentha has made quite a name for himself with his Jazz-influenced bass music productions. This LP is a selection of tracks from his vault, showcasing his musical abilities and tasteful compositions in this self-release.

1 - All Or Nothing
Greeting the listener with melancholic yet optimistic vibes is the first track of the LP, 'All Or Nothing'. Setting the loungey and open space feeling for the release, captivating chords and soothing melodies join a potent sub-bass in this introspective overture.

2 - Same Spot ft. Vale
'Same Spot' picks it right up where the first track left it, emerging further into a vast ethereal space. Charming guitars pave the way to uplifting trumpet lines, masterfully executed by Vale. A meditative bass-line seamlessly merges all elements together into a seductive modal composition.

3 - Sunflower
Showing off his instrumental skills yet again, Mentha delivers a sunny and laid-back masterpiece with an apt title, rounded off by a perfectly executed contrast between bumping subs, crispy drums and radiant spaces. Bossa-inspired rhythms bond with Rhodes, jazzy horns and crystal guitars shifting through the realms of major and minor.

4 - Natural Rain
Natural Rain maintains the meditative vibe while entering mysterious spheres of consciousness. Like sunrise in an enchanted forest, this track is magically captivating and keeps the listener under its spell throughout. Oneiric melodies encounter pads and polyrhythms, leading to a climax which completes this mystical journey.

5 - Water March
Like a light breeze on a hot day, Water March takes it easy. Marked by Mentha's very own signature guitar and trumpet, this peaceful march unfolds playfully. While surprising with energetic bass frequencies and instrumental intricacies, this piece shows an insight of the artist's musical roots.

6 - In My Head ft. Aphty Khéa
A psychedelic masterpiece, 'In My Head' sets a strong statement at the end of the release. The unsettling atmosphere of the track is tastefully matched by Aphty Khéa's pristine voice. Creating an eerie yet soothing vibe, this track lets the mind roam freely through time signature changes, dynamic transformations and instrumental layers which remind of Steve Reich.

There is a purpose behind ambient music: it is utility music. Brian Eno made that clear. If we go by Eno's definition, the music on T.RAUMSCHMIERE's new album is not ambient. Although - or in fact, because - each individual track on this album immediately and effortlessly generates atmospheres, it is impossible not to be drawn in. T.RAUMSCHMIERE sucks the listener into the perceptible endlessness of his pulsating sounds, even though the music does not actually expect anything from the listener. It is not demanding, it does not sound lofty or ethereal. It is in constant movement and evolution while sounding grounded at the same time. The tracks are not weightless; they have body.

Tenderlonious lays down his fute for this LP and goes back to the MPC, with help from the illusive Dennis Ayler. Comprised of ten cuts 'Brick City' takes the listener on a journey through Afro-House, Funk, Jazz, Rare Groove, Boogie and Broken Beat - something for everyone here! Brick City (4am)' and Buterfy' groove efortlessly whilst synth leads interject over tasty chords, all the while being supported by solid bass lines - these two
will undoubtedly set a strong pace on the dancefoor. 'Funky Booda' does exactly what it says on the tn, it's a straight Funk classic! Its infectous groove and soaring leads are sure to have you clapping your hands and stomping your feet. 'Be Ur Friend' is a fery Afro-House number - reminiscent of one of Tenderlonious's early releases 'Bob's Riddim.' There's also more hip-hop inspired selectons like 'Brick City (4pm)' or 'Pepe's Walk,' which bump hard and have strong traces of Sa-Ra and J Dilla infuence.
The record comes complete with quirky skits like 'Bootsy' and 'Ferndale Gateaux,' which blend in and out between the other tunes allowing the record to fow efortlessly from beginning to end. There is something for everyone on this album. It's the kind of record you can play at home from start to fnish or take out to the club as an essental dancefoor fller.

The second release from Antimatter, a new project by Bule and F-on dedicated to Slow drone techno with field recordings and other 4x4 experiments. Thumping low end smothered in grinding drones and tape hiss.

First taste of the upcoming Tempo Dreams Vol. 5 album, compiled by LA based beatmaker Free The Robots. Coming in with a seperate vibe all it's own, the 7" features the exclusive track "Nasi Goreng", a lo-fi psychdelic beat heavy romp through South East Asia, complete with Gamelan vibes. On the flip, "Marano" is a downtempo ultra bass heavy joint with sparse production, vocal chops and swirling synths.

The Long Now is a duo featuring Richard Norris and Finnur Bjarnason, with special guests. They mix piano, voice, string section and electronics with the sound of the Icelandic breeze. The music sits within the post ambient, electronic, contemporary classical genre, with a strong sense of landscape, mood and melody. Richard Norris One half of the Grid, alongside Soft Cell's Dave Ball, one half of Beyond The Wizard's Sleeve with Erol Alkan... Richard Norris has a thing about working as a duo. With many productions and remixes under his belt, including tracks for Warpaint, Brian Eno, Tame Impala and many more, Richard brings an electronic sensibility to the Long Now. He has a long term passion for ambient, electronic, drone, soundtrack and modern classical music. Finnur Bjarnason Finnur Bjarnason is an Icelandic musician whose background is in classical music. Having trained to be an opera singer, rst in his native Reykjavík and later at the Guildhall School of Music and National Opera Studio in London, he then pursued an international career as an operatic tenor for over a decade, appearing in many of the world's most prestigious opera houses, singing everything from Montiverdi to Wagner to modern opera. As he has become ever more interested in where the boundaries between musical worlds get blurry, and particularly how the sound world of 'acoustic' singing world could best intersect with electronic music, he has begun an earnest exploration of the 'other side'. The Long Now play the Blue Dot Festival on Sat July 21st, with more dates to follow. The performance will be accompanied by a lm by BAFTA award winning director Kieran Evans, recently shot in Iceland. The band are currently preparing an album and series of live performances featuring piano, voice, electronics and string quintet.

Late night miami am radio haze ..300 copies..

Broken TV techno and panorama noise compilation that looks to expand people's perceptions of what can open up a dimly lit space.

Barker & Baumecker and IVVVO remix 2 original tracks from the Groovement catalogue and contribute with exclusives for the '10 is not enough' compilation to celebrate the label's 10 years journey.

These 2 reworks are dense, dee023p and rhythmically strong. Being distinct, the tracks complement each other giving this 12' a coherent authorship.

Already being played in clubs such as Berghain (Berlin) or LUX (Lisbon) this release marks the label's longevity and also its connection with the main music cities of the world.

**Vinyl mastered and cut by Rashad at D&M. Sleeve notes by art historian Alex Kitnick. Spotgloss artwork and layout by Florian Hecker and Bill Kouligas. Also comes with an instant download of the full album plus a bonus 17 minute track** 'Hecker Leckey Sound Voice Chimera' presents a radical mashup of works by two probing, multidisciplinary artists among the most vital of their generation. First realised as part of a two day performance at Tate Modern called 'Push and Pull', it offers a mutant configuration of Leckey's vocal track from 'GreenScreenRefrigeratorAction' (the eerie inner monologue of a Samsung fridge, as heard on the B-side of his 'Fiorucci Made Me Hardcore' vinyl and viewable on youtube), scrambled, decomposed and modulated with Hecker's '3 Channel Chronics' - a sound installation also debuted in 2010, where distinct sounds from three suspended speakers were combined and altered by visitors movements. The resultant combination, a piercingly abrasive sonic warp visually reflected in the album artwork, intersects both artists' work on a number of levels: the ideas of cultural transcendence core to Leckey's work, correlating with notions of chimerisation - the synthesis of genetically discrete elements; the 3-headed beast of Greek mythology - algorithmic chronics (morphing patterns) and psychophysical audition central to Hecker's practice. Ultimately it sounds utterly freakish, somewhere between the voices of T-1000's mimetic poly-alloy in T2: Judgement Day as he's lowered into molten metal by Arnie's T-800, and a seriously frustrating skype call to Polynesia, if you follow. No doubt it's not easy listening, but it is deeply satisfying- both conceptually and aesthetically - if you like that kinda thing.

'A futuristic, post-internet mini-album from Japanese multi instrumentalist 'Jigga', stacking static noise, ferocious drums and warped echoes into 7 unconventionally abstract club tracks.'

Monstrance documents Mika Vainio & Joachim Nordwall reshaping guitars, drums and incendiary electronics at Einstürzende Neubauten's Berlin studio back in 2010. The results were originally issued by Touch in 2013, with this new 2LP edition arriving on Nordwall's iDEAL label five years later as a posthumous tribute and reminder of his erstwhile collaborator. In our opinion, it's one of Vainio's most crucial and absorbing collaborations; moving away from ice-cold electronic precision and into a more visceral re-rendering of Metal.In a sort of fantasy regression imbued with the spirit of their shared heroes - Einstürzende Neubauten - Mika returns to the instruments he cut his teeth on way back in the '80s, manning electric guitar, drums and effects, while Nordwall takes control of electronics, electric bass,
Hammond organ and vibraphone, with both arriving at a mutually primal conclusion of distortion and fiercely charged electro-acoustic air.
The first side's 'Alloy Ceremony' comes on like an Earth deathmarch (especially if played at 33rpm!), before the furnace blast of 'Live at The Chrome Cathedral' settles to the sepulchral croaks of 'Midas In Reverse'. In the 2nd part, the duo communicate in reverberant, hollow knocks and guttural bass waves on 'Irkutsk', leading to a moment of raw, staggering poignancy with the shimmering primitivism of 'Praseodymium', leading each other in acres of negative space, with needled strings creating a fine tension that dissolves into the funereal, floating tones of 'In The Sheltering Sanctus of Minerals' in a sort of blue, etheric and almost ecclesiastic resolution.
All the track titles allude to metal (in the material sense), which gives you a firm sense of the hard, grey tonal palette the duo worked with. But Nordwall and Vainio generate such an impressive array of music out of this ascetic approach that we can't really think of much in either of their extensive
repertoires that sounds much like the hour of music they created here. It's one of Vainio's most impressive and unique collaborations outside of Pan Sonic, an essential exploration of silence and noise.

Five tracks of darkside slither from somewhere under London. Sidereal downers for all hardcore ravers. The dread energy of grime and bleep techno distilled into pungent electro-acoustic ooze. Paranoid street music meets the cosmic disturbances of musique concrete, the spine-freeze of isolationism and England's Hidden Reverse. Staccato string stabs, murmured voices, black holes of reverb and pulverising, body-numbing bass. Drums optional. Unwanted side-effects include nosebleeds, earaches, stomach cramps, and nausea. Just say naaahhh.

Taking inspiration from industrial dub techno and global bass music, San Francisco's Only Now delivers his debut EP on French label POLAAR.