Beats Vinyl Neuheiten & Releases - News

Rich La Bonte is a musician, writer and editor from upstate New York born in 1946. At age 11 he figured out how to record a piano backwards with his first tape deck and discovered Monk, Mingus and Art Blakey. In 1965 Rich moved to Ithaca, bought an electric guitar and started singing in garage rock band the huns. After the band dissolved, he moved to NYC and played bass and sang in the original cast production of the musical Godspell. In the late 70s La Bonte moved to Hollywood with Shari Famous, released a a few 7' singles as Dada2, and started fLAtDiSk Records, a vinyl subsidiary of Dave Gibson's Moxie Record Company.

Rich released his debut solo album 'Mayan Canals' in 1981. The seven songs were recorded between 1973 and 1980 while living in New York, Pennsylvania and Hollywood. Influenced by everything from Apple Records to Zappa, the album veers from oozy psychedelia to synthesized breezy folk. Vocally Rich sounds like a cross between Tom Verlaine and Lou Reed. Some tracks feature an EMS Synthi A synthesizer, known to generate the sci-fi sounds from Dr. Who. Other songs utilize feedback from a Maestro Fuzztone box into a TEAC 4-track SimulSync tape recorder. Lyrically La Bonte tackles themes of dying celestial bodies, the birth of his daughter, and a critique of Bowie's character in The Man Who Fell To Earth. Included on this reissue are two bonus tracks originally released on the double A side 7' single Chance Circumstance/Drums Along The Maple Wood, a tribute to Irwin Chusid, the eminent WFMU DJ, with vocals by Shari Famous.

All songs have been remastered from original tapes by George Horn at Fantasy Studios in Berkeley. The jacket features a replica of the original jacket with a Mayan figure screen printed using the original rubber stamps from Rich's archives. Each copy includes a 6-page xeroxed booklet with lyrics, never before seen photos, and liner notes by Rich La Bonte.

"The Loa of Music" is the debut recording project of Milanese composer and musician Roberto Musci inspired by Voodoo Religion, Vever (the magical voodoo paintings) and Loas, the dark and magic spirits. The deep charm of non-Western music has led him to travel for many years across Africa, India and Asia, studying rhythms, scales, performance and interpretation of the most varied traditional and indigenous music, as well he make many field recordings and collected ethnic instruments that would then be combined with synthesizers and electronics in The Loa of Music.

Recorded in 1983, the project originally had 80 minutes of music but only half was released on original LP. SOAVE has pressed for the first time the Complete Recording Session from original tapes of this phenomenally ambitious masterpiece that entirely refuses the well trod path - distilling a remarkable range of sonic reference and reality. A work of field recording, musique concrète, electronics, synthesis, and instrumentation, pulling from countless musics from across the globe, the result is nothing short of brilliant and stunningly beautiful. A near perfect work - an egoless gesture, which rather than attempting to find consensus, offers every voice equity and cohabitation - harnessing the history music, with all of its cultural diversity, as a vision for a more ideal future. Geographies and their sounds intertwine, while Musci's interventions and instrumentation thread a path. Ambiences ripple, sounds and voices converse in a vision of unity that may only exist within sonic realms. Unquestionably seminal, and one of the most important works to emerge from Italy in the last 50 years. Never before issued on vinyl since it's original release, and surely not to be around for long, this is one not to miss.















[O} C3. Night Music II

It's been over a decade since Roy Montgomery's last album, and R M H Q is a hell of a return.

M: Darkmotif Dancehall is the most experimental of the four albums. Montgomery explores new guitar tones and song construction, allowing thick distorted murk and overdriven sharpness to guide the melodies' paths. It's a playful montage of differing masks with discovered sounds laying the groundwork for each track to develop a mind of its own. Six Guitar Salute For Peter Gutteridge,' is a standout upbeat number providing a personalized roadmap to the beyond, honoring the innovative original member of The Clean who could cook up melodies from the most bizarre ingredients, and who passed away last year.

Montgomery was in his rock band period in the eighties, when the dark, minimalist post-punk of The Pin Group lead into the gloriously open-ended freedoms of Dadamah. After a quiet spell, he returned in the late nineties, producing towering spires of guitar lines that exposed fragility between the strums. With his solo releases and in collaboration with Flying Saucer Attack, Bardo Pond (Hash Jar Tempo), and Chris Heaphy (Dissolve), his focus shifted from the truth-mining of rock music to epic celestialism. His ambitious yet humble tracks outstrip their origins, and Montgomery toured the world sitting crosslegged on the floor, playing twenty-plus-minute compositions.

A long period of silence followed, marked only with a split album with Grouper (who lists Montgomery as a primary influence), involvement in Torlesse Super Group, and a couple thematic variations serving as soundtracks for films. Instead, he focused on his personal and professional commitments. Unfortunately, two horrific events precededhis return: the Christchurch earthquakes of 2011 condemned Montgomery's entire neighborhood save for his home, stripping his street of a community, and, as a volunteer firefighter, he saw first-hand the destruction and loss of life in the city center. Additionally, since 2014, illness in the family has dominated his life. Self-expression once again demanded an outlet. R M H Q is four albums conceived and recorded over a very short period, each of them carrying a distinct focus and mood.

Ten Years Alive On The Infinite Plain is the quintessential work of artist/filmmaker/composer Tony Conrad. Comprised of both film installation and minimalist score for amplified strings, Ten Years leaps across genre and medium to connect his revolutionary structural filmmaking with the experiments in long-duration sound that Conrad had begun in the 1960s as part of the Theatre of Eternal Music.

"Ten Years began with image before sound," writes Andrew Lampert, "a row of quadruple projections arranged side-by-side, all the shuffling stripes cascading into each other. Over the next two hours the music throbbed and the projectors incrementally shifted inwards, their beams gradually uniting to form one pulsating, overlapping picture."

For its 1972 premiere at New York's The Kitchen, Ten Years included Conrad on violin as well as Rhys Chatham and Laurie Spiegel performing on instruments of the composer's own making. Chatham played the Long String Drone - a 6-foot long strip of wood with bass strings, electric pickup, tuning keys, tape, rubber band and metal hardware - while Spiegel carried out an arrhythmic bass pulse throughout.

Superior Viaduct is honored to present this previously unreleased recording of Ten Years Alive On The Infinite Plain's breathtaking premier performance. As Chatham recounts in the liner notes, "When I first listened to this recording after not hearing it for over 40 years, it transported me back to the early Kitchen and the heyday of early minimalism, played outside the Dream Syndicate."

Ltd. to 500 numbered copies, incl. printed inner sleeve

This Series of electro acoustic music and Musique Concrète has started in 2015 to celebrate the 50th anniversary of the Experimental Studio Bratislava, Exs. Series 1 introduced us to Ina Hudba/Other Music from the first generation of Slovak avant-garde composers recorded in the Exs, mostly with self-built electronic equipment behind the Iron Curtain. Series 2 provided a platform for Nova Generacia/New Generation of Slovak composers using Western equipment - now integrated in the 5 years plan' to purchase in the West...- and influenced by Karlheinz Stockhausen, György Ligeti, Pietro Grossi among others.

Series 3 called Nasi Hostia/Our Guests show casts the recordings at the Exs of foreign visiting composers like György Ligeti, Lothar Voigtländer, Liviu Dandara etc. The backbone to these unusual landmark recordings were the highly esteemed Annual International Seminars on New Music in Smolenice, Slovakia. The first Seminar held in 1968 was opened and attended by Karlheinz Stockhausen - playing his Hymnen' for the first time abroad - for the Slovak composers an ear opener and a learning process on how to make' this kind of music'... In the following years New Music personalities like Ligeti, Mauricio Kagel, Lutoslawski, Gorecki, Sofia Gubajdulina etc. attended the Smolenice Seminars. - Unfortunately the partial opening of the Iron Curtain and the general cultural upsurge of the 1960's were frozen by tanks in 1968. Neo-stalinistic normalization' of the early 1970s violently pushed this - and not only this - creative branch beyond the borders of permitted cultural activities.
We are especially proud to offer you on this issue a World Premier: Poème Symphonique for 100 Metronomes by György Ligeti, performed and recorded in Smolenice Seminars, 1969 - approved by the composer!

Of particular interest is a student of Stockhausen and Ligeti: Liviu Dandara, Romanian, with his outstanding electro acoustic composition Affectus Memoria' that shows his artistic development after his studies in Darmstadt. The famous East German composer Lothar Voigtländer is presented here with his never released Meditation Sur Le Temps', the almost forgotten Czech composer has here his comeback' with the extraordinary Speleofonie' - just to name a few East European composers to discover from the analogue past of the 70's.

Limited numbered edition of 500 LPs inclusive a CD with all the tracks in full original lengths.

St. Petersburg pathfinder Vladimir Karpov coaxes hushed auras of keys, metronomes, fog, and feeling to evoke hazed and isolated realms, traced in altered states. His latest collection - and vinyl debut - maps the maze at the bottom of self,' subterranean consciousness manifested from decaying synthesizer and shadowed pulse: music for fading torchlight. Labyrinth leads through six misty, mystic chambers of dreams, drones, delirium, and phasered percussion, spiraling in slow, sacred arcs, in quest of the inner world.' Tosya Chaikina's ghost vocals on False Angel Lullaby' and Shadows Of Forgotten Ancestors' bring a whispered hymnal mood but otherwise the LP is ambient and abandoned, obscure meditations along corridors of candlelit runes, to find the right path, to find the true answer.'

Mastered by Alex Nagel. Art and design by Dieter Durinck.

Repress from the magic Bastard first album... Must Have

Colour vinyl 10" in PVC bag.

Destruction Time Again... at one point Caspar Brotzmann (Massaker) and T.Raumschmiere (Monstertruckdriver) had to meet. They did and liked it. After a number of selected concerts the Berlin twins of destruction created a number of tracks in the studio. This EP is a music document of pure beauty. Because behind this wall of sound of tones lies a romantic projection of art. Every listener that is willing to dig a bit deeper can explore pure music. Built out of dreams of music, movements of layers or shifts of patterns that has been melted and grown at the same time. All three tracks are amazingly touching. Blood, sweat and tears. On Shitkatapult's 2017 issue of their annual very special release (10" vinyl only) for the infamous Record Store Day the record C.Brotzmann / T.Raumschmiere fits, especially, as an outstanding piece in the label's 20th anniversary year. Drama may pass, music still digs.

The old band from most of the Bastard Members... noisy Sonic Youth influences... or Jazzy 70's psychedelic roots... or ... just late 80'sNoisy French spirit (Sister Iodine, and others...)... A important repress to check !

Balade Garage for un-virgin ears... Superb music not too punxxx this time and bringing a bit of electro... Well a nice little pearl baby !!

First ever career-spanning compilation of the solo work of Jowe Head, an essential name in the birth and development of the UK's underground scene through his recordings with Swell Maps, Television Personalities, personal projects such as Palookas, Househunters and work under his own name.

From 1981 debut album "Pincer Movement" up to 2014 recordings by Jowe Head and The Demi-Monde, plus previously unreleased tracks, these 20 cuts present Head's wonderful mixture of off-kilter pop and avant-garde weirdness, like a noise party attended by Joe Meek, Burt Bacharach and Sun Ra. A Record Store Day release.

Released to coincide with Kraftwerk's forthcoming June 2017 tour - their first UK dates since the breathtaking shows witnessed at the Tate Modern in 2013 - Parlophone are proud to announce the release of Kraftwerk 3-D The Catalogue on 26th May. This is the ground-breaking 3-D Kraftwerk Concert brought thrillingly to life, developed using high definition 3-D visuals, with Dolby Atmos surround sound and presented to the technological and audio standards one would associate and indeed come to expect from the pioneering Germans led by founder Ralf Hütter. For the very first time, every Kraftwerk fan can now experience a "Gesamtkunstwerk - a total work of art' in the comfort of their own home. Kraftwerk 3-D The Catalogue is released across a number of formats including: Blu-Ray, Vinyl, CD, DVD and Download
3-D The Catalogue features new recordings of Kraftwerk's 8 classic albums performed / filmed at various locations around the world between 2012-2016 and mixed at the band's own state-of-the-art, Kling Klang Studio, Düsseldorf

12' x 12' rigid board box set with lift-off lid, housing a 31cm x 30cm, 228-page hardback book and an 8-panel digipak in a card slipcase with 4 x Blu-ray discs containing:

Discs 1+2: 8 album performances filmed in 3D (2D compatible). 218 mins approx
Discs 3+4: The tour films / projections, presented in 3D (2D compatible). 218 mins approx

Released to coincide with Kraftwerk's forthcoming June 2017 tour - their first UK dates since the breathtaking shows witnessed at the Tate Modern in 2013 - Parlophone are proud to announce the release of Kraftwerk 3-D The Catalogue on 26th May. This is the ground-breaking 3-D Kraftwerk Concert brought thrillingly to life, developed using high definition 3-D visuals, with Dolby Atmos surround sound and presented to the technological and audio standards one would associate and indeed come to expect from the pioneering Germans led by founder Ralf Hütter. For the very first time, every Kraftwerk fan can now experience a "Gesamtkunstwerk - a total work of art' in the comfort of their own home. Kraftwerk 3-D The Catalogue is released across a number of formats including: Blu-Ray, Vinyl, CD, DVD and Download
3-D The Catalogue features new recordings of Kraftwerk's 8 classic albums performed / filmed at various locations around the world between 2012-2016 and mixed at the band's own state-of-the-art, Kling Klang Studio, Düsseldorf

Rigid board box set with lift-off lid, holding 8 x capacity wallets, with 8 CDs, plus 16-page booklet

Following his recent credits on Frank Ocean's Blonde and Endless, Vegyn steps out of a two year hiatus with a new 12" single on his 'PLZ Make It Ruins' label. 'Phone Phoneys', the title track, immediately delves into familiar and focused textures backed by woozy synths, dancing between glitzy euphonious melodies. The drums and rhythm section channel the energy of prior dance classics but still feel eager and original in their deployment. On the flip side, 'PLZ XX' diverts listeners expectations by jumping between several frenetic moods, all whilst maintaining an energetic frivolity found throughout the record as a whole.

The debut LP of this collaborator with Rhodri Davies and Chris Watson, evoking the knockabout, visionary, English humour of Jeff Keen and Bruce Lacy, spiked here with massive, steaming dollops of contemporary political outrage and disgust. 'Sounds are slurpy, runny, fizzy, spongy, hard as rock,' says the label, 'recalling long improvisational sets, floor-sucking dubwise psychedelia, plunderphonics and tight GRM-era electronic sound design.' Released to coincide with BD's summer-long exhibition at the Whitechapel Gallery in east London, nodding to everyone from Busby Berkeley to Max Ernst. Beautifully sleeved, with a double-sided A3 risograph poster.

7"

Remastered version of 80's classic

Solo project of Vanishing Twin (Soundway) member.

The song Cucumuber Sword feat. vocals by Taishi Nagasaka (Fat White Family)

Man From Uranus has been making music inspired by the freakier edges of 60s and 70s library music and jazz for almost 2 decades, and like his predecessors - Sun Ra, Space Lady - he's never really fitted in, feeling more comfortable exploring cosmic realms than than with his feet firmly on his own planet. A prolific composer and home recordist, he has garnered a reputation for eccentric live shows, each presenting an entirely new repertoire. Alien Flowers, in a limited edition of 300, is one of few recordings capturing the spirit of an artist who is unwittingly on his way to attainting cult status.

Alien Flowers has been played on NTS, The Wire's Adventures in Sound and Music and The Independent Music Podcast. Support from The Sunday Experience, Tom Furse (The Horrors), Jonny Trunk, Doug Shipton (Finders Keepers), Emily Bick (The Wire) and Anthony Chalmers (Baba Yaga's Hut).

Foom presents two new pieces by Micachu (Mica Levi) — one for cello, played by Oliver Coates, and one for piano, played by Eliza McCarthy.

This record is meant to be enjoyed like a seascape. It offers a Mediterranean journey, one that Ulysses, Aeneas, and Jason with his Argonauts charted first and Valencian artist, Pep Llopis, retraced and retread — from the islands of Menorca to Santorini. All of his experiences are aboard this vessel of sound: no format in mind, no course but the chasm within self. While Poiemusia La Nau Dels Argonautes materializes at this moment as an album, another object suits Pep's project: Lewis Carroll's Map of the Ocean' from his The Hunting of the Snark. It's a simple illustration: the thin outline of a blank rectangle that represents the sea with no trace of land. Carroll offers this empty space as an object that all can understand, a container for possibility. Likewise, Poiemusia offers a musical language that any listener can understand. Untethered to the meaning of words, one is set adrift and free in minimalist sound and traditional music. Llopis, who often composed for dance, originally wrote Poiemusia for a performance at the Poiemusia festival (the Greek contraction of poetry and music). Peer composers, Carles Santos and Wim Mertens, also participated in the festival, which took place over several days at the Teatro Princesa in Valencia. Llopis paired his newly formed avant-garde compositions with the poems of fellow Valencian, Salvador Jàfer.

In the studio presentation of Poiemusia, voices softly converse, only to evaporate. The poetry is incanted by the poet himself. Jàfer enunciates at the verge of song, drawing dimension from his Mediterranean travels. He is accompanied by Montse Anfruns' vaporous voice. She extends the roll of her r's and the hiss of each s as if casting a spell of Salacia. Pep bathes their conversational performance in slight delays and reverb, allowing their voices to dissolve into an ocean of sound.

Llopis was influenced by minimal American composers like Steve Reich and La Monte Young. He embraces the melodic sides of these masters in the winds of El Vell Rei De La Serp' and the tender piano on Nits de cristall.' You will find yourself submerged in tonality on tracks like Jardins Aquàtics' and La Nau Dels Argonautes' which have a kinship to Philip Glass or Daniel Lentz. Each piece extends from 5 to almost 14 minutes. The music gently laps against listening skin— sometimes placid, sometimes shimmering. Ripples of sound swell and quicken. Flutes like schools of fish. The spray of chimes. Taught strings break like the shore. Tingling, undulating synths. The record cover acts as a map, tracing the forms of the original art and providing the poems in Catalana and Spanish. Once bathed in these sounds one will emerge like Carroll's map: a perfect and absolute blank.' Poiemusia La Nau Dels Argonaute emerges in vinyl and digital formats on May 19, 2017 through Freedom To Spend.

Vices is the first ever record from Separation Anxiety, continuing the Horo quest to expose the untouched underbelly of electronic music. Separation Anxiety mixes gothic tinged ambience with metallic beats and contained distortion.
Early support from Samuel Kerridge, Ancestral Voices, Pact Infernal, Grebenstein, Sam KDC.

One dead marine through the hatch
Scratch and scrape this Heavenly body
Every inch of winning skin
There's junk in honey's sack again
Drink to me my Heavenly body
Scratch, scrape, scratch this winning skin
Hack hack hack hack this heavenly body
Yack yack yack yack yack goes junk-face
There's garbage in honey's sack again'

Sexazoid keep using his pheromones to triggers social response in members of his species. So follow the dog walker in to the metal chamber now dripping with zoid sweat. Ace, dusky, metallic house sleaze!

When two people meet: Harmonica space time thicket drums compiled through carbophonic blooming. Stalker/Swoop is a collaboration between German «DIY-Instruments» artist Andreas Oskar Hirsch and Austrian percussion and field recording perfectionist Richard Eigner from Ritornell.Cologne-based artist Andreas Oskar Hirsch produces visual works, sound, music, and texts. He investigates sound, setups, narratives and performative processes and pushes them to a point where frenzy, humor, sense, and nonsense meet. Andreas has been inventing various musical instruments that he performs with, among others, the Electric Palm Leaf, as well as his latest construction, the Carbophon, a kind of a super-kalimba. Both instruments were used on Stalker/Swoop.Richard Eigner is an Austrian composer, sound artist, producer and drummer. In his music he crosses the borders of »experimental acoustic music«, »minimalism« and »electronica« with a focus on the symbiotic use of acoustic elements and electronically produced and processed sounds. Strenuous with numerous sonorous projects he is kept busy with his playful musical project Ritornell, the setup of Denoising installations or drumming for the likes of Patrick Wolf, Flying Lotus, Dimlite and Patrick Pulsinger.

industrial, dark and dirty electro & Techno sounds... Deep rought sound !

Following the collaboration between Elysia Crampton, Kelela and Adrian Piper, 'Final Exam', The Vinyl Factory join with Elysia on her next solo release. 'Spots y Escupitajo'. The release braids legacies from both American club culture and sonic miniature compositions in the form of a 12' sample pack. The LP honours classical American composers such as William Gran Still & John Adams, as well as Central/South American club producers like DJ Rodini, DJ Saiber & Mega DJs from Cochabamba

- 180 GRAM AUDIOPHILE VINYL
- EXPANDED EDITION FEATURING 3 BONUS TRACKS DISKOMO 1992', DISKOMO 2000' AND TWINKLE 2000'
- LIMITED TOUR EDITION OF 1.000 NUMBERED COPIES ON TRANSPARENT BLUE VINYL

The Residents are one of pop history's best kept secrets, throughout the group's existence, the individual members have ostensibly attempted to operate under anonymity, preferring instead to have attention focused on their art output. Much outside speculation and rumor has focused on this aspect of the group. In public, the group appears silent and costumed, often wearing eyeball helmets, top hats and tails—a long-lasting costume now recognized as its signature iconography.

After Eskimo was released The Residents responded to the furore of fuss and praise it generated by taking various bits out of the album and re-working them to a disco parody of the original, this created Diskomo.

The Residents had long planned to produce a children's record -- of sorts. Goosebump is a collection of Mother Goose rhymes set to music with all of the original sinister overtones' left in place. They teamed up with their long-time collaborator Snakefinger and recorded the songs using only musical instruments. Although children's toys were used to produce the music, The Residents' grown-up toys were used afterwards in the mixing of the recording.

We are proud to bring you the expanded edition of the Diskomo / Goosebump E.P. ! This 'new' version has no less than 3 bonus tracks: Diskomo 1992', Diskomo 2000' abd Twinkle 2000'.

Front sleeve notes Special 12' - 45rpm Disco record - Based on the LP Eskimo - Disco will never die!. The Drawing on the back sleeve was done by Jad Fair of Half Japanese. This limited tour edition of 1.000 numbered copies is pressed on transparent blue vinyl.

* The first vinyl of the year is the first step towards knowledge, after the last step we had moved into the darkness.
We've fallen many times and we reacted, we moved forward. For this reason the forthcoming release is called 'La Caduta Di Lucifero' ( The Fall of Lucifer) as homage to the white energy to come and the end of all evils.

* Produced by the acclaimed Codex Empire and the young, talented artist Unconscious.

* A dark and obscure texture with melodies to touch the inner places of the soul. A record designed for vinyl collectors as much as DJs

* The EP comes with a Codex Empire remix which gives the missing dance attitude to the vinyl.

* 'If God listened to the prayers of men, all men would quickly have perished: for they are forever praying for evil against one another'. Epicurius

'Divination' is the second LP to come from Liam Blackburn's Ancestral Voices project. Where his debut LP 'Night of Visions', reconstructed his rhythmic approach into a primal framework, 'Divination' sheds the beats almost entirely and focuses on soaring drones and Liam's refined approach to ambience. There is moments of tempered elation (Revelation, Inscriptions, Cleromancy), contrasted with black hole soundtracks (Geomancy, Hieratic) with the overall feel of 'Divination' becoming a gently traversing voyage through a revolving mood-scape. With 'Divination' following more beat oriented EP's for Samurai Music and Horo, Liam redefines the sound of Ancestral Voices with every release. 'Divination' is a glistening example of the singular voice he provides to electronic music.
'Divination' is pressed on crisp white vinyl 3x12" housed in a deluxe full artwork sleeve with spot varnished runes exclusive to the LP version.

_moonraker's second full-length release comes as a split-LP: Unvarete I and II. The duo continue to develop their inimitable approach to extended thematic development, melodic and rhythmic counterpoint, and chromatic harmonies.

Personliga artiklar (Personal items) is pure electrical energy from the bottom of rage to clean sanded adventurous sound hypnosis. Slim Vics music mixes sound worlds with clear impact in sound art and darkest ambient, likewise small flirts with underground-based techno and IDM. The album is a selection of previously unreleased material mixed with music that only existed on single or remixed versions earlier, personal articles. One of Sweden's most prominent artists in the spray painting, Rolfcarlwerner, has created all the artwork for the album. The cover to the original painting was painted directly inspired by the album's sound world and was shown at the exhibition 'Outside in 4.0' at the gallery Erik Axl Sund in Stockholm winter in 2016.

The 10th Modal Analysis release is the second full EP of the label's co-founder, ANFS. Mass EP demonstrates ANFS unique sound aesthetics, offering tracks to satisfy the most demanding music-heads. Mass#1 is a sadistic composition of distorted percussions and basslines hitting hard in a slow rhythmic groove , while Mass#2 stands closer to the dancefloor thinking norms, without though leaving behind any of the creepiness of Mass#1. On the flip side, Mass#3 brings back the mood of a horror movie soundtrack, with bleepy riffs on the leading sequence. Finally, Mass#4 is another rhythmic industrial composition, which connects Mass EP with the traditional eastern influences that can be found on ANFS debut release, Ground EP.

You don't have to be a big name to have a big heart but it certainly helps. And that's exactly what we have up next on Touched, big names with big hearts. B12, legendary Warp act from the Artificial Intelligence era, have given Touched a new EP - 'BrokenBroken', a reimagining of their 2016 release 'BrokenUnbroken'.

Listening through, it's clear that these aren't mere remixes or rejected, inferior versions, real love and skill have gone into this EP. New tracks built from revisiting old material with new perspectives. Listen closely and you'll hear vestiges of what once was, riffs, melodies and rhythms are both vastly different from the original release whilst clearly showing their ancestry. It's this dichotomy that keeps you switching between active and passive listening.

Dubby melodic IDM from Dead Fader
Noisy distorted Dub from Goner

Explanatory Denial is the 7th record by Chicago-based electronic producer Jim Magas under his longtime MAGAS monicker. In the '90s, he fronted unconventional 'no wave'-ish bands Couch and Lake Of Dracula. In the early 2000s, he recorded for material for Ersatz Audio and did a few remixes. In the Twenty-teens, he focused on instrumental productions for his own Midwich imprint and composing music for director Asia Argento's 2014 film, Misunderstood. In early 2017, Magas premiered new material during a U.S. tour in support of band Joan of Arc. The limited-to-200 4-track spring 2017 12" EP Explanatory Denial opens with 'Shipping Container', a rough, minimal stomper, offering plenty of bounce, but no padding or instructions.'New Dawn' opens the door to a brightly-lit and concrete alternate reality. 'Sky Castles' keeps bodies moving while synthesized strings whisper false reassurances of easy days and high pay. 'Indelible Mark' is an atmospheric lo-fi Casio lounge-funk spy groover that smells of Holiday Inn wood-paneling, dripping with Benson & Hedges Ultra-lite 100s. Deploying a variety of primitive electronic techniques, Explanatory Denial is a testament to the power of diligent synth-hunting and decades of basement refinement.

Maxwell Allison records improvised loop-based electronic music under the name Mukqs. 11,666,666,666,666,666,666, his first LP with Chicago imprint Midwich Productions, documents a session of intertwined synth melodies and technoid beat arrangements recorded live and presented without overdubs. Previous tape releases compiling live takes of textured noise and deranged sample manipulation using cassette tapes as sound sources appeared on labels like Phinery, Apothecary Compositions, and Hausu Mountain (co-run by Allison himself and Doug Kaplan). Allison and Kaplan perform with Natalie Chami in Chicago free music trio Good Willsmith, whose abstracted electronic rock jams and space drone ritual performances aim for a state of overloaded chaos. On 11,666,666,666,666,666, Allison sheds the randomized and abrasive aspects of past free-for-all jams and latches into an elastic pulse of syncopated basslines and complex percussion patterns pumped from a minimal hardware rig of drum machine and sampler. The LP evokes the subaquatic atmospheres and evolving analog arrangements of Drexciya, the recursive melodic ecstasy of Terry Riley, and the cyborg tonal juxtapositions of Oneohtrix Point Never. Mukqs's arrangements pit the insistence of a rigid grid against a system of arrhythmic synth samples that intersect with a loose logic all their own. Brittle vocal and flute preset tones clash with chordal clouds of sustain and swelling drones, as a network of hi-hat and snare patterns click a path through the center of the mix. Allison's thick bass bursts dominate the stereo spread, animating grooves and harmonizing in distortion with a web of crisp triangle wave arpeggios. His session stretches from the loping electro thump and siren synth walls of "The Tulpoid Serpent" into the zen bongos and syrupy pads of "Neo-Venezia." "Frog Work" hits a stride of major-key bliss when xylophone cascades blend with sitar tones over a 4/4 stomp, as if soundtracking a Studio Ghibli-core movie of Allison's own invention. "Hashimoto-Appelbaum Syndrome" closes the LP with a palette of juxtaposed textures painted in kinetic rhythms: compounded organ lines mingle with vocaloid chirps and a lattice of pitch-shifted cymbals, as a chopped and screwed flute melody holds down the low end with faux-upright bass. If Mukqs's strict adherence to a live take / no overdubs recording regimen betrays a mentality closer to the noise underground, 11,666,666,666,666,666,666 elevates his stubborn practice to new heights of analog synth arrangement and cosmic density.

Bloody abstract Electro Hip Hop, strongly blues, with a pinch of jazz.

Köln Concert remix in a hip hop abstract style...

Radical noisedub from Ghengis (the bugs soundguy Goh)
Melodic sweetness from Goner