Beats Vinyl New Releases - News

* Rose is presented as a clear laser etched vinyl edition featuring artwork by Mark Titchner. The record is released by Omne a new London based sound and text based publishing platform.
* Grumbling Fur present the music for Mark Titchner's film installation Rose. Developed as meeting point between Daniel O'Sullivan and Alexander Tucker's collaborative music project and Titchner's expanded moving image and text based works the project was initially presented at Dilston Grove in London during summer 2014.
* The music continues Grumbling Fur's immersion into a haunting legacy of British folk and outsider electronics, bringing these worlds together within an enveloping field of sensory speech and sounds evoking both transcendent bliss and introspective paranoia. The music mirrors Rose's thematic influence's, drawing from the desires of individual hope and aspiration as well as interrogation techniques found in the declassified CIA Kubark manual.

Defined as an independent entity, drawing its inspiration from the deconstructed walls of an imaginary and utopian society where music is king and artist is servant, Forsaken Cell is a Paris and Lyon based structure composed of a small ravers community, aimed to show an indie, radical and experimental face of the french underground scene.After showing a raw and anarchic vision of techno with Deikean's debut release, the Forsaken Cell keeps on exposing a radical and experimental face with, this time, a brighter and oniric aspect. This EP, debut of TheSolid System, presents itself as a fine mix of industrial and psychedelic textures inspired by the diversity and eclecticism ubiquitous in the rave culture. Thus this character, as discreet as he is, shows up at the scene: naked, assuming from the outset to be as much influenced by the bass music sharp rhythmic and dusty textures of industrial dub techno, that warm colorings and transcendent sounds of psychedelic music.

Severence is an electronic sound artist who lives in spain.

Mensch 003 experiments with various forms of chaotic sound & signal generation to create dense chaotic sound fields and other more relaxed ambient soundscapes.
All tracks were recorded live in one take using a eurorack modular synth, a mixing desk and various effects pedals (no overdubs or post processing in the computer).

DeepChord and Echospace started off as barely more than a rumor supported mostly by the continous scarcity of their records. The duo comprised of Detroit's Rod Modell and Chicago's Steven Hitchell have spent nearly two decades producing low-key electronic music both bordering on the verge of myth. They're considered by many the most noted producers operating in the dub-infused aftermath of the Basic Channel axis and all its myriad offshoots. Their landmark album, "The Coldest Season" on the celebrated Modern Love imprint was named album of the year in over 40 different magazines around the world and was listed as one of "The Best Albums Of The Decade" in Resident Advisor. The Detroit duo also record under a a variety of monikers (cv313, deepchord, intrusion, phase90, variant, etc.) and have continued to carve out an evocative, immersive sound born out of a love and passion for analog circuitry, sound design, field recordings and non-conventional methods of recording. But it's also work that's quintessentially building upon the Detroit electronic scene where it was born, and that divine marriage of roots and vision make the work at once so highly considered, so pertinent and so timeless. This marks the first Echospace (Rod Modell & Stephen Hitchell) project since 2012's, "Silent World" album release. On this new project, a collaboration with one of their closest friends and mentor, the late Michael Mantra, who's contribution to society cannot be overstated. Michael's theories on 'Brain Hemisphere Harmonic Healing' were instrumental in the development of vibrational and sonic therapy. His experiments in the neural affects of sound paved the way for for what has now become healing music. In his honor, we're moving forward with a project we started some years ago and has finally come to form. Echospace plays Michael Mantra, "Sea Shell City" is a 70 minute voyage into the furthest depths of the mind, featuring three tracks of ambient drone-based sonic worlds. Where gentle waves of organic harmonics induce an almost meditative state of being. On this album sounds were sculpted with the use of hydrophones, piezoelectric transducers, wind harps, and binaural dummy-head microphones creating snapshots of normally unheard sonic worlds. Analogue oceans in slow motion, allowing one's mind to float into those mystical quiet zones, the brain hemisphere-sync effect Michael Mantra fostered for nearly three decades is ever present. We're continuously reflecting on the teachings of Michael and in his honor, preserving the essence of sound and vibrational healing through music for immersive journeys into the vast beauty of atmosphere, the mind, nature and the inner self.

Sequential Sleep is an ambient two-part CD release made for dreaming, a sonic travelogue set in multiple locations within a winter forest. Everything in its natural environment is magnified with a 7:1 field recorder that captures the purest form of nature. Utilizing newly developed forms of fm, granular and modular synthesis allowed this project to unravel in ways we never expected; like a visitor on foreign lands. Harmonic angelic sequences continuously ebb and flow, slowly moving, like the tides meet an estuary. Slowly evolving electric currents fluctuate in their purest essence possessing the closest reach towards a pure analog sound experience. The interchange and combination of field recordings and spectrum of sounds via various 16-step sequences become alive, taking on an organic yet expansive, and three-dimensional sound design which is out of this world. In the space-time continuum, every sound travels back down to earth within the spatial expanse, where recordings take on their own natural life in paradisiac existence.

Based on the Sufi teachings of sound—appreggiation and vibration, this music's vibrational pull of oscillating frequencies are founded on chord repetition, so too like chants that heal and allow the mind to reach meditative states. These immersive zones are the platform for a pure, rejuvenating, aqueous trance-like experience of endless possibilities. Freely flowing and comforted, just as a mother's womb, the unconscious mind embraces all. These are songs that warmly envelope, soothe and heal the soul. Nearly 2.5 hours, both sonic journeys are adaptations of the other and the essence of the vision. And, its sequences are steps into a dream, the steps into enchantment.

Behind and beyond these recordings therein lies the inspiration of its mysticism:
When we pay attention to nature's music we find that every thing on the earth contributes to its harmony. The trees joyously wave their branches in rhythm with the wind; the sound of the sea, the murmuring of the breeze, the whistling of the wind through rocks, hills and mountains; the flash of the lightning, and the crash of the thunder, the harmony of the sun and moon, the movements of the stars and planets, the blooming of the flower, the fading of the leaf, the regular alternation of morning, evening, noon, and night, all reveal to the seer the music of nature.' - The Mysticism of Sound and Music
The opium of openness by which all that dream, in wakefulness, or in sleep become one in the same dream...

Monster Beats, Exclusive Scratches, Crazy Metaloop... NOT ONLY FOR DJ!

DJ Shadow, widely acknowledged as a crucial figure in the development of experimental, instrumental hip-hop, will return with 'The Mountain Will Fall' via Mass Appeal Records, his first full length release since 2011. The 12-track album finds DJ Shadow exploring new realms in addition to the deep samples and kinetic soundscapes that helped to launch his career 20 years ago. On 'The Mountain Will Fall' he's shifted further toward original composition, a vast experimentation of beats and textures, synthesizers and live instruments including horns and woodwinds. The album features Run The Jewels, Nils Frahm, Matthew Halsall, Ernie Fresh and more.

..worth it's wait.

Dominos Produzentengenie Jon Hopkins veröffentlicht mit "Asleep Versions" eine 4-Song EP auf CD & 12 Inch mit Bearbeitungen von Songs aus seinem aktuellen Album "Immunity" inklusive Vocal-Features von King Creosote und Raphaelle Standell.

Aïsha Devi's 'Of Matter And Spirit' LP encapsulated the spiritual metamorphosis and transcendental journeys of this other-worldly figure. 'Of Matter And Spirit Remixes' offers a series of new perspectives on the sonic wonders hidden within. Irish duo Lakker's take on 'Anatomy Of Light' adds a heavy dose of syncopated percussion. Recent Ninja Tune signing Throwing Shade transforms 'Kim & The Wheel of Life' into an introspective session. The remix EP boasts two reworks of 'Mazdâ'. Berlin's Mind:Body:Fitness interprets the track as a whirlpool of trance, and the spooky Killing Sound version features MC/vocalists Rafael Shafique and Bogues. The collection enhances and twists the ethereal beauty within 'Of Matter And Spirit' and leads this singular, meditative artist straight into the ritualism of the dancefloor.

Now Wait For Last Year has been unavailable on vinyl since its original '85 pressing on Earthly Delights

Blackest Ever Black and Klanggalerie present the first ever vinyl reissue of Caroline K's outstanding 1985 album, Now Wait For Last Year. This haunting, wistful work of post-industrial synthesizer music - the late Nocturnal Emissions co-founder's only solo record - has accrued a fervent cult following over the past 30 years, and copies of the original pressing are today extremely rare and sought-after. Appropriately enough for an album concerned with the disruption of linear time - it takes its title from a Philip K. Dick novel concerning a highly addictive hallucinogenic drug, JJ-180, that induces time travel for its users - the music on Now Wait seems to exist firmly outside of it. Tags like industrial, minimal synth or proto-techno can't really do justice to the richly cinematic sound-world that Walters describes: from the sustained ambient tension of sidelong opener 'The Happening World' to the future-primitive rhythms and stately piano flourishes of 'Animal Lattice', and the melancholic, deep-frozen synth sequences of 'Chearth'. Fans of Wendy Carlos's A Clockwork Orange, Chris Carter's The Space Between, and early Detroit techno should pay special attention, but this searching, future-proof masterpiece demands to be heard by all.

Support from:K1971! Berlin promotion from 28th of August 2015 www.k1971.com

* Tabvla Rasa is the second vinyl release for the new London based label Kapvt Mvndi Records, a Blackwater Label project about Techno.

* This Ep comes in a single sided vinyl on a 12', 45 r.p.m. with black labels, no inner sleeves, and a book with credits and artwork inside.

* Tabvla Rasa is a an experimental and post techno Ep based on the historical events of the Second World War. The first track CXIX is about the days of Bombs in London during the War. The second track CMXI is about the connection between the indian Swastica and the esoteric symbolism used by the Nazists in the same period.

* A1 track is a pure experimental dark track leading at 99 b.p.m. using a raw lead and synths in a repetitive and psychedelic loop . A2 track is a post techno track, more suitable for the dance floor. The Artist used the same musical and machines structure for both tracks, 99 b.p.m., same delay and reverb effects preset and same instruments.

Coming from the home of Future Sound of London and credited to their 'producer' Yage, Ignition Of The Sun is a deep and evolving journey through liquid spewing analogue sequences, warm saturated swampy sine waves.
It calls back to a time from the early 70s with bands such as Tangerine Dream and Klaus Schulze. All sounds were created and sequenced entirely on the Legendary EMS Synthi AKS, multitracked and mixed to 15ips 1/4 Revox tape. The EMS Synthi AKS was first introduced in 1971, one of the earliest Synthesisers available and as used by Radiophonic Workshop, Pink Floyd, Brian Eno.

This post-revolution Iranian album from 1985 is so ahead of its time, so completely off on its own sonically and stylistically - that you'd be forgiven for thinking it were a hoax. In reality it's one of the most sought-after and exceptional records from the Smithsonian Folkways catalogue, here brought back to life in this facsimile edition put together by the Dead Cert imprint. Until now, it's been the preserve of a small handful of collectors who rightly hold it in huge regard and close to their chests. A syncretic traversal of Iranian folk music and modular synth strafing radio-phonic, musique concrète, neo-tanktrik and sound design disciplines, it simply sounds quite unlike anything out there (if you know better, please, please share!) and has had us, and everyone who's heard it, utterly enraptured. OK, there may be some precedents in the work of electronic music pioneer Ilhan Mimaroglu, and it has undoubtedly directly or indirectly inspired music that has come since (Keith Fullerton Whitman's 'Variations For Oud & Synthesizer', for instance), but we're sure you'll agree that the elements have rarely gelled so fluidly, phantastically psychedelic as this, before or since. It's possible to trace that combination of traditional and contemporary styles, mixed with a liberating sense of freedom and abstract expression, to the composer's history; from early enrolment in Shah-sponsored music schools and conservatories he was awarded scholarship for further studies in Holland, and when the revolution arrived in Iran he would permanently leave for the world famous Columbia-Princeton Electronic Music Center in the late '70s, all priming Dariush's tastes and skills for these recordings made during the mid '80s, late at night in the university studios with the permission of Professor Ussachevsky. It's testament to its enduring magic that listening back now for the umpteenth time we're still bewildered and vividly transported as we were the first time, lost to its roil of tangled timbres and etheric dynamism, keeling to the metallic lushness of the strings and rendered mindblown at the synchronised sweeps of modular synth and simulated environs. It's a genuine wonder of the electronic music world, and an utterly essential listen, by anyones standards.

Recorded live at Cafe Oto as part of Touch presents... on 31st January 2016

Simon Scott is a sound ecologist and multi-instrumentalist from Cambridge, England. His albums 'Insomni' (Ash International) and 'Below Sea Level' (Kesh/TouchLine) are out now (see above). His work explores the creative process of actively listening, the implications of recording the natural world using technology and the manipulation of natural sounds used for musical composition. He plays the drums in Slowdive and has recently collaborated with artists James Blackshaw, Spire, Taylor Deupree (Between), Isan + many more.

M83, aka Anthony Gonzalez, announces the highly anticipated details of his forthcoming full-length album, JUNK, out 8th April on Naive. Following the critically acclaimed silver album Hurry Up, We're Dreaming, featuring Grammy nominated single Midnight City,' and two triumphant years of world touring, Gonzalez - who serves as M83's musical architect, songwriter, front man and primary vocalist - returns with an artistic evolution, explaining, I want to show different sides of me on this album. I want to come back with something more intimate, yet somehow with...less me!'

Feeling a renewed kinship with Gonzalez's early musical inspirations like Tangerine Dream, Aphex Twin, and genre-expanding visionaries like Brian Wilson and Kevin Shields, Gonzalez both returns to his roots with this album, yet makes a logical leap forward. And while M83 albums has always combined genres in a nostalgic and provocative way - from shoegaze and ambient to synth-pop and '90s alt-rock - for JUNK, Gonzalez experiments adventurously with sounds and styles he's never previously attempted in his music. All my albums have layers of eclecticism to them, but with this album I wanted to take that even further,' he says.

On the album title 'JUNK,' Gonzalez divulges, "Anything we create today is going to end up being space junk at one point anyway, and I find it really fascinating and scary at the same time - beautiful too in a way. I have this image of pieces of humanity floating in space, lost forever. It also means that nowadays everything goes so fast and everybody is kind of throwing away art in a certain manner. People will listen to an album for instance and just pick a track they like to put on a playlist. They're not going to take the time to listen to an album anymore because they have to jump on the next thing.'

This is a psychedelic masterpiece, a stunning piece of work made mainly by synths from various kinds (VCS, Farfisas, Mellotron etc), backed up occasionally with drums and other sounds. The tracks are mainly instrumental and takes the listener through a trip, like the gods of psychedelic music intended. Think the Germans had the market cornered on dark-edged electronics in the 70s Guess again, because this mid 70s gem from Frenchman Philippe Besombes easily rivals the most progressive work of the Kraut scene of the time! The album's a collaboration with Jean-Louis Rizet - and features both artists duetting on a variety of analogue electronics - sometimes in a melodic way, but often in more experimental modes that are quite textural at times - and which stand as a key link between initial German electronics in the 70s, and some of the murkier British uses of the instrument a few years later.

sculptress of sound. radical illusion. the mathematics of emotions. rooster personality. greim love. ernst. network-mycelium. exec friendship crews. sonic wilderness. club aesthetics without club. 544 reasons to live. adult-hollow-hood. transformation capacities. the radical self. the internet and our potential to become cyborgs. pitch, shape, colour & tone. snowden revelations and the crew. public reverberation. non-human spaces. wild code. thoughts on capitalism within the human agency. sonic editing. between radigue - xenakis - influences of grime. the end of the CD object. wither-beauty. ink leftovers. silly poetess extravanganza. this is my process. thankfulness.

Kon:3p>UTION to: e[VOL]ution is the 9th solo album of the artist and producer AGF (Antye Greie, also Anye Greie-Ripatti or formerly Antye Greie-Fuchs, Laub). It is the 30th studio album as executive producer in collabarations with Vladislav Delay, Gudrun Gut, The

Braids are a three-piece experimental pop band from Montreal. In the spring of 2015 they released Deep In The Iris, their standout third record. Companion is the band's latest 4 track EP, written during the Deep In The Iris sessions, and completed during a burst of creative energy in August 2015. Here Braids use the palette of Deep In The Iris to paint decidedly different vistas - joy, disaffection, thunderous explosion to delicate introspection, the minimalistic power of "Companion" to the patient blossoming of "Sweet World". Distinct in their own right, these 4 songs are not to be dismissed as B-sides, outtakes, or the lesser of a group of songs. Though it uses Deep In The Iris as a compositional guidepost, Companion is a breath-taking journey all of its own.

Braids are a three-piece experimental pop band from Montreal. In the spring of 2015 they released Deep In The Iris, their standout third record. Companion is the band's latest 4 track EP, written during the Deep In The Iris sessions, and completed during a burst of creative energy in August 2015. Here Braids use the palette of Deep In The Iris to paint decidedly different vistas - joy, disaffection, thunderous explosion to delicate introspection, the minimalistic power of "Companion" to the patient blossoming of "Sweet World". Distinct in their own right, these 4 songs are not to be dismissed as B-sides, outtakes, or the lesser of a group of songs. Though it uses Deep In The Iris as a compositional guidepost, Companion is a breath-taking journey all of its own.

Following on from the underground success of Florist's debut EP, All Caps first release of the year sees the label pluck from the ether 6 transmissions by debut artisté - Neuroshima.

Cavernous Breaks. Fluid Subs. 1992. 2016.

My friend & i used to listen to this during the summer of 94, gazing out his bedroom window at sunset, watching the birds fly past the water tower on the horizon. One of the rare times when both of us would shut up for a few minutes and get lost for a bit...'

*Each record comes packaged in a mirrored silver-board sleeve + custom insert designed by Florist.*

PaperSkies is the latest release from French producer Somepling. It consists of eight, chilled, jazzy tracks. LP comes in a limited deluxe edition of 275 copies, printed on quality paper by engraver Jérôme Bouchard from original engraving. All copies are hand-numbered, and pressed on 180gr vinyl. 12''x12'' silk-screened insert included.

* Mareggiata aSan Vito is the third vinyl release for the new London based label Kapvt Mvndi Records, from Blackwater.
The Ep comes in a single sided vinyl on a 12', 45 r.p.m. with black labels and artwork with credits.

* Mareggiata a San Vito is an EP from Vesàlio a.k.a. Livio Improta. A mature and balanced two tracks Ep, explicit homage to the sea and to the roots of the purest Italian electronic music culture.

* The EP opens with 'Vient', an hypnotic and dark piece that perfectly mix the British influences of downtempo and break core with dark ambient and Italian acid house influences.

* 'Terr_one" closes the Ep, a never ending magnetic tribal loop piece of twelve minutes.
This Ep is dedicated to those who lived through the dance floor,

Recorded in Kobe, Kyoto, Tokyo, September 2015 Photos by Jim O'Rourke. Layout by Shunichiro Okada Despite decades of activity and having crossed paths in various collaborations Editions Mego is honoured to release the first ever duo recording from two of the most highly regarded citizens of planet experimental electronic. Individually, Jim O'Rourke and Christian Fennesz have been responsible for numerous legendary works which merge the traditional avant-garde with contemporary sensibilities. On It's Hard For Me To Say I'm Sorry these giants of experimental electronic practice come together for an immensely powerful sonic experience. The signature of both O'Rourke and Fennesz cohabit this new release with O'Rourke's gurgling harmonies swimming amongst the shimmering frequencies and strummed melodies produced by Fennesz. Two side long tracks situate themselves as a warm electronic adventure. Simultaneously radical and comforting these works shift from gentle sonorities to fully distorted explosions all of which reside within a template of tension between musical and non-music matter. Timeless in execution and presentation It's Hard For Me To Say I'm Sorry is a deeply rewarding sonic experience from two of the most romantic gentlemen active in experimental music today.

Recorded in Kobe, Kyoto, Tokyo, September 2015 Photos by Jim O'Rourke. Layout by Shunichiro Okada Despite decades of activity and having crossed paths in various collaborations Editions Mego is honoured to release the first ever duo recording from two of the most highly regarded citizens of planet experimental electronic. Individually, Jim O'Rourke and Christian Fennesz have been responsible for numerous legendary works which merge the traditional avant-garde with contemporary sensibilities. On It's Hard For Me To Say I'm Sorry these giants of experimental electronic practice come together for an immensely powerful sonic experience. The signature of both O'Rourke and Fennesz cohabit this new release with O'Rourke's gurgling harmonies swimming amongst the shimmering frequencies and strummed melodies produced by Fennesz. Two side long tracks situate themselves as a warm electronic adventure. Simultaneously radical and comforting these works shift from gentle sonorities to fully distorted explosions all of which reside within a template of tension between musical and non-music matter. Timeless in execution and presentation It's Hard For Me To Say I'm Sorry is a deeply rewarding sonic experience from two of the most romantic gentlemen active in experimental music today.

Solas ('Light' in Gaelic) is Claire M Singer's debut album spanning 14 years of her work in acoustic and electronic composition.In recent years she has focused on writing and performing a mix of organ, cello and electronics with regular performances at Union Chapel where she is Music Director, running a diverse programme of concerts and educational workshops around the Chapel's Henry Willis 1877 organ.

Other performances include the Roundhouse London by The LCO Soloists, a' fàs soilleir, an audio-visual work, exhibited at Tate Modern London, XMV New York City and Ceremony Hall Austin TX and she has performed as part of Spire at Muziekgebouw, Amsterdam, Kunst-Station Sankt Peter Cologne and many more.

The Molendinar, which was co-commissioned in 2015 by Civic Room, Glasgow and Union Chapel, London to celebrate Glasgow's Molendinar Burn Project wiil be performed on the 14th June 2016 at Glasgow Cathedral to conclude the weekend festival.

Expanded RSD gatefold reissue 2LP on 130701. Includes 6 previously unreleased exclusive tracks (LP1306X)

Record Store Day 2016 exclusive - significantly expanded double-vinyl reissue of Hauschka's debut album for 130701, 'Room To Expand'. The album has been repackaged and extended with the addition of six previously-unreleased exclusive tracks, and has been made available on vinyl for the first time ever - arriving with new artwork, liner notes, full digital download coupon and gatefold packaging.
Upon its original release nine years ago, Hauschka was the little-known alias of Dusseldorf-based pianist / composer Volker Bertelmann. 'Room To Expand' was the album that in many ways laid the groundwork for Hauschka's future success. Its very title suggested a frankly-articulated portent of future growth for the artist - both creatively, technically and in popularity.
Gathered to fit a single, final vinyl side, the six new tracks were all recorded contemporaneously with the original album and breathe new life into it. They offer a wider lens onto into this period Hauschka's creativity, perfectly complementing and extending the original set. Aside from the heavily delay-processing 'Vakuum One', all six tracks are solo prepared piano works, moving from the playful 'Zooviertel' to the more strident, pounding, swelling 'Run Run' and the fidgety, skittling 'Fragments' and ending on the impressionistic, rippling, fizzy-textured 'Vakuum One'.Expanded RSD gatefold reissue 2LP on 130701. Includes 6 previously unreleased exclusive tracks (LP1306X)

Record Store Day 2016 exclusive - significantly expanded double-vinyl reissue of Hauschka's debut album for 130701, 'Room To Expand'. The album has been repackaged and extended with the addition of six previously-unreleased exclusive tracks, and has been made available on vinyl for the first time ever - arriving with new artwork, liner notes, full digital download coupon and gatefold packaging.
Upon its original release nine years ago, Hauschka was the little-known alias of Dusseldorf-based pianist / composer Volker Bertelmann. 'Room To Expand' was the album that in many ways laid the groundwork for Hauschka's future success. Its very title suggested a frankly-articulated portent of future growth for the artist - both creatively, technically and in popularity.
Gathered to fit a single, final vinyl side, the six new tracks were all recorded contemporaneously with the original album and breathe new life into it. They offer a wider lens onto into this period Hauschka's creativity, perfectly complementing and extending the original set. Aside from the heavily delay-processing 'Vakuum One', all six tracks are solo prepared piano works, moving from the playful 'Zooviertel' to the more strident, pounding, swelling 'Run Run' and the fidgety, skittling 'Fragments' and ending on the impressionistic, rippling, fizzy-textured 'Vakuum One'.

Tenant is rumored to be the head honcho of Blueberry Mr FaltyDL himself. Although it is neither confirmed nor denied.

Inspired by the AFX Hangable Auto Bulb series.

Pure braindance fun no zeitgeist bologna here.

In 1958 the BBC Radiophonic Workshop opened with the aim to enhance the main drama output on the Third Programme (now Radio 3) following the development of new electronic music techniques emanating from Europe. Their work expanded across the BBC to take in TV drama (especially sci-fi), schools programmes and themes. The latter being their most celebrated and well known work: Delia Derbyshire's treatment of Ron Grainer's theme for Doctor Who.

This collection was originally released on vinyl by BBC Records in 1979 to celebrate 21 years of the workshop's creative output. From The Goons (Bloodnock's Stomach), to the Interval Signal, to Doctor Who and Great Zoos of the World, this is a fascinating chronicle of some of the most innovative music ever made. These ground-breaking compositions have provided a major influence on music from The Beatles and Pink Floyd and onwards into the contemporary world of Aphex Twin, Orbital and The Chemical Brothers.

* Tracks from ALE005 featured on BBC Radio 3, NTS and Resonance FM
* Arc Light Editions named in The Guardian's Best New Labels for 2014

Voice Is The Original Instrument is the first of two crucial Joan La Barbara reissues incoming this spring on Jennifer Lucy Allan and James Ginzburg's Arc Light Editions.

* Voice Is The Original Instrument was the first record released by Joan La Barbara in 1976. It has since become iconic as one of the initial examples of extended vocal techniques in experimental music. The human voice is the only instrument on the recordings. The works on Voice is the Original Instrument were some of Joan's earliest compositions, researching the possibilities of the voice, in two rigorous études, "Circular Song" and "Voice Piece: One-Note Internal Resonance Investigation", and the more free-form "Vocal Extensions", which uses live electronic processing. 'My reason for producing the LP was to get my music out to the world beyond NYC and the major cities in which I was playing concerts,' she says. 'At that time, Carla Bley and Michael Mantler had started JCOA/New Music Distribution Service which handled small independent labels, so there were quite a few artists in the NYC area who were producing their own albums and distributing them through that service.'

* Just out of college and living in a Soho loft in New York, Joan began playing shows in New York with jazz and rock musicians, and with those in the new music scene. 'I did commercials, which, strangely enough, led me to Steve Reich,' she says. 'A composer I was working with, Michael Sahl (who was also Judy Collins music director and pianist) hired me to do some radio commercials and suggested me to Reich who was looking for singers who could imitate instruments, which was something I had been working on for some time and was part of my exploration of the voice. I worked with Reich on the development of "Drumming", imitating the marimba.

* Voice Is The Original Instrument was originally released in 1976 on Wizard Records. It was later issued by Lovely Music as an extended double CD edition. This is the first time the original LP, with artwork, has been made available again. It will be followed by a reissue of Tapesongs in late May.

Conceived as a studio project and conceptually inspired by the world of sci-fi novelist Aldous Huxley, Brave New World was created by Reinhart Firchow (recorders, flutes, ocarina, Stylophone, percussion, vocals), John O'Brien-Docker (guitars, organ, percussion, vocals, wind chimes) and Herb Geller (flutes, cor anglais, saxophones, organ). They where aided by Dicky Tarrach (drums, percussion), Lucas Lindholm (bass, bass fiddle, organ, piano) and Esther Daniels (voice). Irishman John O'Brien-Docker had previously played on Die City Preachers and Marcel, and also recorded as Inga & John - Inga was, of course, Inga Rumpf of Frumpy fame. He also played with Dagmar Krause and Anthony Moore, who would later be known as Slap Happy. Reinhart Firchow had also been around for a while and would later form Kaarst. Herb Geller was an accomplished jazz musician who had been playing and recording in several jazz outfits since 1954. Their album, originally released on Vertigo in 1972, featured an eclectic mixture of styles, blending medieval music, folk, electronics, jazz and rock in pure krautrock eclectic lore in the line of Annexus Quam, Achim Reichel or Tomorrow's Gift.


First ever reissue, housed in a glossy laminated gatefold cover reproducing the phenomenal original artwork and an insert with notes, and it's limited to only 500 copies!

From his seemingly bottomless well of unreleased conceptual pop, jazz and pioneering electronic experiments, Swiss composer Bruno Spoerri, in conjunction with long term collaborators Finders Keepers, finally unleashes the master tapes to an obscure 1972 feature length documentary called Langstrasse Zwischen 12 und 12 (Long Street Between Midday And Midnight). Directed by Gianni Paggi (who had also worked on Swiss pop music weekly Hits A Gogo) and radio host and author Max Rüeger this seldom seen film studied the stark counter balance between the lifestyles of the inhabitants of Zurich's famous Langstrasse - a varied and vibrant stretch of road in centre of the city which played host to a unique mix of contrasting cultural and social groups, working class families and energetic creatives. Langstrasse Zwischen 12 und 12 explored real-life stories of family run businesses, schools, nine to five commuters and the contrasting nightlife scene including the city's liberal after hours red light district. To accentuate the ironic and slightly schizophrenic nature of the production Paggi and Rüeger called upon Spoerri as one of the country's most versatile instrumental composers to share a first-hand impression of the area as a local himself. Exploring a wide range of musical disciplines from early modified synthesisers to rock rhythms via found sounds, jazz, folk and traditional Greek music, Spoerri successfully infused vibrant bursts of sonic colour into the monochrome imagery of the programme, creating a floating narrative undercurrent quite unlike anything heard on regular Swiss TV during the era.

In scoring such a project to a precise deadline Spoerri would require a trusted group of regular musicians, many of whom would appear on collectable records by Swiss groups such as The Metronome Quintet, The Rainbow Orchestra and Emphasis. As a leader of The Metronome Quintet himself Bruno was comfortable working alongside reliable members Fernando Vicencio (sax and flute), Ueli Staub (vibes, keys and percussion) and drummer Rolf Bänninger - who's prominent playing is best exemplified on the previous Finders Keepers/Spoerri LP Hommage Au Fromage. Other players on this session include Latin multi-instrumentalist Antonio Conde who had simultaneously bonded with Vincencio in the jazz rock super group The Rainbow Orchestra under famous guitarist/soundtrack composer Pierre Cavali (see record FKR008). Another Cavali/Vincencio collaborator to appear on this album is pianist Renato Anselmi who would later join both musicians in the band Emphasis - vital to this session Renato Anselmi would provide extra keyboards to Bruno's experimental and textural synthesiser tones. Later in the 1970s Spoerri would also enlist Anselmi to play on the soundtrack to art house film Lilith (recently sampled by US rapper Jay Z. For hardcore collectors of European jazz the appearance of trumpeter Franco Ambrosetti might warrant some deserved attention. A firm fixture on the Swiss jazz scene alongside Spoerri and regularly playing with George Gruntz, Ambrosetti's earlier work on records alongside players like American sax man Shahib Shihab or French saxophonist Barney Wilen remain some of the most expensive original items on the collectors market. The final icing on the cake for this session would be the inclusion of Switzerland's leading harmonica player Heinz Pfenninger, a welcome addition to the group having played with Ueli Staub in the award-winning Roby Weber Quartet (Pfenninger can also be heard playing bass alongside Rolf Bänninger on Spoerri's aforementioned Hommage Au Fromage LP).

Like most of Bruno's releases on Finders Keepers Langstrasse Zwischen 12 und 12 sees the artist explore unique new territories, combining the skill of incredibly talented musicians and combining his own discoveries in the realms of electronic music and his own brand of post- concrète found sound application which would appear on his rare postcard records made for industrial companies utilising wristwatches, pneumatic drills and forklift trucks as essential parts of his orchestral palette. This early 70's glimpse into Spoerri's narrative composition for the small screen captures an important European artist-cum-scientist treading a seldom trodden path between experimental pop, jazz and music technology in its infancy.

Miami ex-patriate Alexander Suàrez debuts on Unknown Precept with A Los Mártires. Conceived as an ode to those who spilt their blood in vane for political ideologies that failed them and countries that were never their homes, the five tracks that make up the release show the Brooklyn-based producer sinking into odd techno hybrids manipulation; shooting down unrestrained grooves and rusty samples while excavating lush sound exploration tinged by local folklore and grievous metallic tones. In his own words, Suárez discloses that the embodiment of this strange intermingling sound like an organic and humming invitation to an uninhibited meditation on our inevitable assimilation into modern industrial society; an overarching rhythmic theme built on the idea that the resistance to and the seduction of these systems might trap us in a push and pull limbo from which the only escape is rage or submission.

A truly bold sound explorer, Lucy has always added a skewed, angular version of modern techno. The outer edge of his experiments bare particular mind food, and his release for Horo adds a new slant to his sonic identity.

Those intrigued by Lucy's live performance at Mutek 2015 or his monthly sound bath meditation sessions in Berlin, will find 'Eat, Drink, Shop, Relax' represents a combination of both these events. Recorded live to tape in Lucy's Berlin studio, the 4 tracks work together in a perfect continuum. The mood achieved is a warm, comforting bubble of hypnosis that feels at times like the machines have developed their own language and Lucy is their chosen conductor.

The EP title finds its meaning in a critical perspective on consumerism, but while the world continues to move at a breakneck pace driven by people's acquisition of 'things',Lucy's experiments exude a notion of peace and contentment. Perhaps the underlying theme of 'Eat, Drink, Shop, Relax is a time and place where freedom from the clutches of consumerism can, and will be the norm. If this is the soundtrack to an idealistic future, it's an attractive place.

Continuing the sporadic reissue programme of Colin Potter's legendary, home recorded cassette releases from 1980-1982, Deep Distance reissues the seminal 'Scythe' set, expanded from it's initial 1981 ICR cassette releases, to a double LP with all manner of out-takes, alternate and demo versions, creating a killer set for all enthusiasts of Colin's work as a member of NWW and collaborator with the likes of Organum, Current 93 and Ora and so on...

Here are some notes from Colin himself:
'The tracks on this album were recorded in the late seventies and early eighties. Side 1, Trk.1 to Side 3, Trk.2 were originally released as 'The Scythe' on cassette, the second release by ICR. 'Nightshift' is taken from the ICR/Aeroplane cassette 'Chainsaw'. The rest of the tracks are early or alternate versions and remixes. Most of the damage was done by myself using guitars, synths, sequencers, drum machines, percussion and modified toy keyboards with fairly primitive 4-track recording equipment. I was assisted on some of the tracks by Jon Caffery, Mel Jefferson and Trevor Wishart, all of whom are still speaking to me. Jonathan Coleclough did the design of the original tape and here we are, 35 years later, and he's designed this release too.

An Overview of Experimental and Electronic Music in Turkey: this anthology features 29 turkish artists: from the electronic music of the '60s to all forms of experimental music of the '10s. This is the second volume of an exploration by zone or sphere of influence.

The constellation built between 2000 and 2012 with the seven-part series An Anthology of Noise and Electronic Music continues to expand through the Early Electronic collection (consisting mostly of tracks composed between the 50's and the 80's) and these 'area anthologies' (we prefer the phrase 'area of influence' to 'country'), this one having been preceded by An Anthology of Chinese Experimental Music 1992-2008. You probably noticed how larger is the time frame for this collection. The reason is that, in Turkey, two exceptional composers emerged very early on to show the way to future generations that followed in a piecemeal fashion. Indeed, Arel and Mimaroglu did not have immediate followers. The explosion happened later, through the 'serious music' of conservatories and universities (Cenk Ergün, Koray Tahirolu, Mehmet Can Özer) and the electronic/noise music avant-garde ((Mete Sezgin, Nilüfer Ormanli, Utku Tavil) - the great wave of the 2000s and 2010s. The beauty of this album is found in its multifaceted nature; it features purely formal music, hijacked electronica, remnants of Turkish harmonies, and pieces that are more conceptual or even political (vaguely or strongly) in design. Batur Sönmez and Erdem Helvacžoglu have managed to capture this diversity and energy. And it so happens that this profusion of music related to an urgency to live and think freely is blooming within an increasingly-stifling space. Call it the spectacular beauty of an explosion.

FEATURING: Bülent Arel, Ilhan Mimaroglu, Erdem Helvacžoglu, Batuhan Bozkurt, Alper Maral, Batur Sönmez ,Cenk Ergün, Korhan Erel, Sair Sinan Kestelli, Koray Tahiroglu, Mehmet Can Özer, Tolga Tüzün, Basar Ünder, Nilüfer Ormanlž, Utku Tavil, Asaf Zeki Yüksel, Osman Kaytazoglu, SIFIR (Z.Aracagök), Cem Güney, Volkan Ergen, Mete Sezgin, Mors, Tuna Pase, D2GG, 2/5BZ, Cevdet Erek, Reverie Falls On All, Burçin Elmas, Meczup

Extraordinary new LP from a group comprising Carla dal Forno (Tarcar), Samuel Karmel and Tarquin Manek (Tarcar, LST). Deeply drugged, synth-daubed death-folk and DIY electronics: acutely psychedelic, inscrutable but emotional, sunken but prone to soaring, with flashes of horror too. Beautifully conjures the mirth and murk of childhood summers...a relatable surburban gothic...grazed knees, hide-and-seek, nettle-stings. Trampled flowerbeds and failing light. Ghouls in your neighbour's garden. Think Nico meets Dome or Alison Statton wandering The Pickle Factory after dark...If you dream you die, you die.