Beats Vinyl New Releases - News

Blackest Ever Black presents Fooling Around, a new E.P. from David West's Rat Columns. The title track is nothing short of a modern rock 'n roll classic: co-written by West and Mikey Young (Total Control, Eddy Current Suppression Ring et al) it appeared in truncated form on Rat Columns' album Leaf (R.I.P. Society, 2014), but this is the first time that the original, longer, and definitive version has been given the vinyl pressing it so richly deserves. Its combination of void-chasing motorik, moody jangle, West's plaintive vocal delivery and Young's spaced-out synth embellishments makes for a song at once elegiac and relentless: think Splendour of Fear-era Felt or David Kilgour at his dreamiest, strapped to the engine of Neu!'s 'Für Immer', and you're in the zone. The three cuts on the flip confirm the status of Perth native West (veteran of Rank/Xerox, Lace Curtain and Total Control among others) as one of the most powerfully accomplished songwriters in the underground today: the choppy riffage, breakneck tempo and zig-zagging melody of 'Living In The New World' summon Orange Juice or Modern Lovers, but with a darker, more delirious edge, 'Strays' reprises the swooning, summer-death psychedelia of 'Fooling Around', and bedroom-recorded stalker's lament 'Should I Leave You Alone' brings the EP to a perfectly bittersweet climax, as square-jawed dub bass, chewy tape FX and West's downcast vox yield to baroquely beautiful guitar phrasing and limpid Moog tone-float. Available on 12' vinyl with picture sleeve, insert and download code (edition of 500), and digital formats.

Max Loderbauer delivers an open-ended and enigmatic re-interpretation of "Shiro" which was originally released on the album "Tao" - Ako 01.

Bee Mask's version of "Minako" (also taken from "Tao") creates a gravitationally distorted universe of sounds and pushes the sound design to the furthest limit.

collecting orders for a repress
Second part of four in the Imbroglios series sees modern sound alchemist Pepe Bradock emerge from his studio with another outerwordly, mind-bending mixture of tricky, swinging beats, collages of rich, imaginative sound snippets from every corner of the musical spectrum and a phletora of exotic, cheeping noises and sounds. Its a miracle how Pepe keeps pushing the envelope with every new precious release yet is instantly recognizable - on of the true innovators in any style of music today and another cornerstone of every good record collection that will still sound good in decades. Play super loud!

Join us for this AA sided single whereby LAST KNOWN TRAJECTORY welcomes the immensely talented VISONIA to its music roster and most proudly presents the first collaboration with the mighty DOPPLEREFFEKT to deliver what is, 'Die Reisen', encapsulating what you will soon recognize to be the distinctly warm and engulfing sound that is Visonia, here morphing with Dopplereffekt's unmistakable, deadly bass arpeggio and subterranean stratospheres - utterly amazing. Flip over to the AA side and witness Visonia with two markedly different styles, as 'Antarctic Love' is just about THE most emotive piece of electronic music you will hear this year. Finally comes 'Impossible Romance' - a fresh, new-wave inspired and dare I say it, spiritually uplifting piece of music that you will simply wish to repeat again-and-again-and-again. It truly doesn't come much better than this!
'Die Reisen' written, recorded and produced by Visonia et Dopplereffekt for Last Known Trajectory 2013 'Antarctic Love' and 'Impossible Romance' written, recorded and produced by Visonia for Last Known Trajectory 2013

Beneath's Mistry label draw the best out of Batu in this quaking two-headed beast. With each release he seems to step further into his own sound, whilst also remaining true to a shared aesthetic/tempo with peers such as Beneath, Pinch, Lurka, and most recently, L.Sae on his home-brewed Timedance label. For this headstrong mission he comes with the noisy, technoid mutation of 'Dakalb' up top, alloying radioactive subs with rusted snare crack and floor-scanning sirens to murder the dance. Backa plate, 'Collate' runs industrialized roto-toms and scooping bass with the ruddiest junglist swagger crowbarred into a 130bpm template. They're both a big look those that know.

Ariel, the new EP from Taragana Pyjarama aka Nick Kold Ericksen Is a suite of 5am trance breakdowns capturing those moments when the sun is almost coming up, the clarity just before and just after something truly epic crystallized eternally in vignettes presented in a sequence - a series of tracks ecstatic on their own but transcendent together. Intrumental EP opener 'Givers' builds to the point of rapture, while title track 'Ariel' promises I will do all it takes, I will be here all the way,' over icy, undulating synthwork. 'Ber' is an exercise in subtlety, a soft beat peppered with icy flourishes.

Taragana Pyjarama takes the major chord ecstasy of progressive house and strips it of ornament with barely any drums, no drops and no resolutions - arpeggiated melodies and simple vocal features, including a stand-out turn from rising young New Zealander Lontalius on 'Buchla'. The record closes with 'Together', a distorted voice drawing in and blanketing the listener before evaporating into the ether.

I have always tried to push myself with each release,' Erickson reveals, but this is the first time I feel like I've succeeded. I've had to sorta force out an unnatural way for me of writing music, which at times has felt almost like a break up or something. Something I had to get through and had to do, to feel better about it. It's a new start in a way. I'm just getting comfortable with my music and learning from this, but at the same time everything seems so much clearer now.

TINT is the banner name for the omniversal sonic explorations by guitarist and tonemaker Zane Morris. My New Murex will be TINT's opening statement, a three-track 12" for True Panther that incorporates Morris's wide embrace of counterpointing musical traditions and disparate compositional techniques. Unlike many avant and new-ageist forays into instrumental music, it's evident from the start (cue opener "Nine Notes") that TINT achieves endpoint bliss not through through melodic meandering, but through careful playing, technical tinkering and handcrafted tuneful intervention. In this way, My New Murex is a musical experience above all else.

Zane Morris was born in Los Angeles in 1986, raised in Arizona, and moved to the San Francisco Bay Area at the age of 12, where he would become classically trained on the trumpet, and a deft guitar player through tenures in several of the area's DIY hardcore groups. Developing the TINT project early on through self-released CD-Rs in the late naughts, Morris moved from blown out finger-picked folk pieces to increasingly electronic forms of melodic development and auditory exploration of dub and minimal music. Though the building blocks of influence and instrumentation may evolve, the destination remains disruptive, unfamiliar, uncharted.

Lee Gamble's UIQ label enters orbit with N1L's hazardous maiden voyage of strobing electronics and agitated techno-house. Born Martins Rokis, N1L arrives at his first vinyl release via ten years of outlier electronic pursuits including a split cassette with N.M.O.'s Rubén Patiño beside numerous live actions, usually in the context of conceptual art installations, generative systems, and multichannel A/V performance.With 'Wrong Headspace' however, he has coined the N1L moniker to open a less oblique, more direct connection with the 'floor, representing a headspace where he can pursue experimental club music and physical sensation thru the prisms of sound design and soundsystem pressure in a manner that clearly dovetails with Gamble's own aesthetic perceptions.A-side: 'Iguana Love Bite' twysts 140bpm grime-techno with chromatic chords in splintering yet deliquescent dance formations, somehow keeping a robust keel amidst the machine-gunning chaos, whereas 'Lonely Is The New Black' sounds like '95 jungle extruded thru a mental wormhole.B-side: 'Stuck In A Cube' tacks toward alien tribal house with lush effect, cycling thru multiple time signature changes and ambient dimensions to a heady techno rush, where 'Wrong Headspace' comes down with the crankiest, de-glazed electronics forged into what sounds like a L.I.E.S. record from the year 2020. It's a superb start for the label with some surprises in store.

The first vinyl release on Abandoned Audio, the new sub-label from 31337 Records, Ezekiel Honig's 'A Film of String & Wood' continues his form of refracted, geographically oriented, electroacoustics. Sitting in a background of field recordings and incidental real-world objects, textured piano and horns act as cement for chunky, yet subdued rhythms that fall over themselves and snap back into place. Warm, looming tonal progressions remain incredibly intimate and focused while retaining an expansiveness of space, a perfect metaphor for Honig's music on the whole - personal and specific while intersecting with something more universal.

Throughout its five tracks, 'A Film of String & Wood' stretches and pulls its melodies, weaving them through each blocky snare, each bassy kick drum phrase, with a heart and mind that hearkens to a different time, memory-tinged with a nostalgia for a moment that is yet to pass. Pressed on sturdy 180 gram vinyl and featuring artwork/design by Ezekiel Honig.

Titles of this album, i mean titles names are already a good experience

Excellent experimental little indutrial techno perl... Needed for more sound surprises in parties

A-side goes drum & clicks, and b-side goes spped break and clicks... quiet bizarre stuff. Like it !

Atmospheric & raw analog cuts between classical composition and oldschool deep house.

The first new single from Shlohmo brought to you by True Panther x Wedidit.Shlohmo's sound has evolved in ways that are difficult to describe. His unique approach to production seems as steeped in sludge metal as it is in drum & bass, as much IDM as it is R&B. It is somewhere deep within this sonic collage that he has carved out a distinct and celebrated voice in the electronic music space. His production on BANKS' 2014 single 'Brain,' and his sought-after remixes and crossover style, as witnessed in this year's collaborative release with Jeremih, are further evidence of his immense talent and wide scope of influence.

Ltd. to 1000 Copies. No repress. Black and white drip color vinyl housed in a silkscreened heavy-duty Mylar sleeve.  B-side is only available on this 7'.

Each 7' comes with a die-cut stencil.All music and package design by Shlohmo. 

Final part in the Charles Cohen trilogy on Morphine Records. Featuring various works made for Dance & Theatre productions between 1976 & 1988. Eleven tracks in total - lovingly spread over double LP and featuring some of the most beautiful material of the series. Another essential purchase. TIP!
While in the process of recording and optimizing the old reel tapes for the initial track list, Cohen discovered a master tape that was originally prepared for an extremely limited cassette release on the Generations Unlimited imprint in NYC. This collection, preserved in the original order of its initial release, contains some of Cohen's collaborations and performances in theater pieces and art installations by Jeff Cain, Tonio Guerra, Group Motion and more. A 2LP document, Music for Dance and Theater shows Cohen's extremely sensitive and creative integration of sound into these theatrical performances and visual art installations.

Issued in three parts - this vinyl series will culminate in a full CD release to be announced later this year.

Nicolas Jaar and Lunch re-issue Lydia's classic early spoken word CD C.O.W. (1990) on vinyl on his label Other People. Includes the new remix of Why Was I Born An Americanfeaturing Weasel Walter's invasion.

Now that the final chapter on Barnt´s Pavlovian epic called 'Geffen' (Cómeme 013) isn´t closed yet, this fairytale of a Janus-faced smash hit has already taught us a lovely lesson to remember forever: How to exquisitely capture the full yin and yang of the sublime and the lunatic in one piece of joy. 'Geffen' was yelled at, taken as a fraud or as a piano tuner´s exercise. Séance, slapstick, great Techno swindle - one couldn´t quite tell. People were perplexed. Was that even proper music Yes and no is the answer, since it seriously yet hilariously showed us how to stay away from the boredoms of knob-infatuated 'properness'. Who is this Barnt people kept asking. A charlatan, a puppeteer - some heir of Dr. Benway or Prof. Calculus Does he really know what he is doing Well, it´s with his new EP that we come to realize: he actually does. Barnt´s style remains a palpable paradox even now refined. 'Tunsten', 'Stac' and 'Ariola' are marvellously aloof though totally unashamed to exalt the wonderful impertinence of the rave-ritual´s key stimuli. Barnt wearing a white smock, testing the ingredients of pleasure. No romanticism, no reference, no genre-attidude. Practicing his vicious dancefloor trickery on how to provoke precise physical reactions by clearly calculating frequencies which stimulate to dance. At the same time all of this is super loony, theatrical, overexposed, anti-technocrat and delicately decadent. In an air of shamelessness Barnt's extracts of euphoria associate for curious liaisons and eminent effects.

Other People is excited to debut the work of 19-year-old Russian producer Gena Volgarev, aka InLensk, with the Obratno EP. Translated as backward, or conversely, Obratno seems obsessed with and frustrated by a sense of nostalgia that can never lock its focus. Finely etched, highly detailed rhythms retain a cerebral cool fluttering over, under, and around melancholic digital melodies that bend and degrade sporadically. Meanwhile, the tactile use of filtering, extreme pans, and hypnotic microprogramming reveals an interest in sound's ability to shift temporal perception and evoke a purely neural response. Yet there's an intuitive warmth to a track like 'U 1', where a percolating guitar-line seeps through the austerity of a woody, lo-bit groove. Inspired by the artist's childhood in the provincial village of Lensk (thus the pseudonym), Obratnoliterally looks backward for its world. The track titles codify minute, yet impactful aspects of Gena's past. 'V 4', for example, translating to 'in 4', references his tight quartet of best friends, skipping along with an appropriately jocular bassline, tottering cowbell, and a deep, accentual 'Hahaha.' Wherever wistfulness appears there's also anxiety, manifest acutely in the unpredictable percussion. A snatch of Amen break cuts to a strike of open hi-hat and then a roll of heavy toms, never repeating texturally, even if there is a constant pulse. It's the contrast of speed and weight, between the drums and the melody, that creates a provocative air of avid melancholia — grasping for something not too far in the past that's fading faster than it should.

''The television screen is the retina of the mind's eye'' David Cronenberg, Videodrome 1983
Passarella Death Squad lynchpin Danny Passarella collaborates with London techno producer Perc to create 5 soundscapes echoing erotica viewed through supercharged synapses to accompany the recent series of artworks created by Danny Passarella that share similar voyeuristic obsessions.
Lavishly colourful, the listener is drawn towards them, like an obsessive James Woods slithering into his television in the climactic sequence of Cronenberg's horror classic Videodrome.
Available as a limited edition 12" see-through blue vinyl release, the 5 tracks act as an abstraction and intensification of the mood set with their previous collaboration 'Temperature's Rising'.

Mastered and cut by Rashad Becker at D&M, pressed on 140g 2xLP or CD
Features photography by Kim Thue and artwork by Bill Kouligas.
Follow-up to 2014's 'The Hollow Organ'
Inspired by loop-based industrial music, dub techno, and balearic disco

Where his previous effort, 2014's 'The Hollow Organ,' dealt in dense, distressed sonics, 'Olympic Mess' is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes which unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them.

'It's about exploring a perverse desire to pull the rug from under yourself, and the struggle to achieve a healthy equilibrium between one's personal and artistic lives,' Younger says. 'Dealing with the problematic consequences of pushing your own limits, forming and dissolving relationships, transient lifestyles, physical and mental exhaustion, excess, and other kinds of personal chaos'.

Crafted using an array of heavily processed samples, found sound and electroacoustics,
personal conflict manifests in 'I Exist In A Fog' and 'Outerzone 2015,' where visceral noise
disintegrates into veiled, ambient strata. The disquieting crescendos of 'The Evening In Reverse' and 'Fluid Cloak' offer no such relief, while the title track and 'Don't Lick The Jacket' are mineral, multilayered abstractions twisting around a brittle pulse.

Following a period of extensive touring throughout the States and Europe, which included 20 dates in support of Danish punk group Iceage, 'Olympic Mess' was recorded in London, New York and Berlin by Sean Ragon, Luke Younger and John Hannon.

Scuba Death is Ricardo Donoso's alter ego. With more of a focus on analog sound, percussion, sampling, and location recordings, there is an organic undercurrent on Scuba Death recordings that isn't as prevalent in his solo work. This music is rich in atmosphere while still tethered to the deeper ideas that Donoso often explores in his work. Treatises on fear and death­anxiety, the underlining thematic framework for the project, run rampant throughout these claustrophobic electronic passages, and teeter on the edge of being oppressive. Nitrogen Narcosis marks the first full length and strongest statement in the Scuba Death repertoire after the privately issued, ruthless 'Demon Seed' twelve inch back in 2011. The album alternates between surprising lethargic dance inflections all nestled between 75 & 100 bpm, the normal resting heart rate for adults, and the more conceptual, numbness­inducing pieces like '50­-70 Meters' and 'Nociception.' Sequencing plays an integral role on Nitrogen Narcosis as the listener is suddenly thrust into the darkest reaches of the ocean after dark alley grooves are sucked into an aquatic abyss. For a project named after Donoso's near­drowning experience in the South Atlantic when he was younger, there's an impressive amount of reflection & vulnerability present - the field recordings that permeate throughout the album were captured at the same location the undertow caught hold of him that bright Summer day 20 years prior. An inner battle between paranoia and euphoria is played out in well­conceived, precision sonics on Nitrogen Narcosis as Donoso reminds us to look back, break through the surface and go deeper.

Born in Rome at the end of 80's, Stefano Rocchi grows up
listening music with the influence of his brother, Riccardo
Rocchi (DJ too in the 90's and now Professional Guitarist).
He starts working on music like a game, beatboxing' with his
friend Sirio Gry J.

His studies in Mats leads him to learn more and more in
Sound Design and Hardware structures, as sound
engineering.

His music culture through Techno, Detroit style, Chicago
House, as well as Minimal rhythm and Rock atmosphere
guided him into this Contrasto Ep.

Recently back from a season in Spain, he had the possibility to create releases on Love Blast,
Ephedrina, Stato Elettrico and Stencil Recordings. He played in clubs like Rashomon, Circolo deli
Illuminati, Magazzino33, Muzak, Bilbliotechina, Trecentosessantagradi and Animal Social Club in Rome,
plus Russian Bar (London) and Macarena Club (Barcelona). Actually he is going to grow up in the
European scene both for the production and performance areas. He also has recently joined Black Sam
Records family, and pressed his first vinyl on Love Blast, "Contatto".

Sascha Schierloh a.k.a the enfant terrible of fucked up electronic dance music launches his new imprint Raketenbasis Haberlandstrasse with an impressive full length album offering.

Whilst the A-side holds some of his own tracks produced under his well unknown monikers Rgyeue DF and Bidol Cath originally released as 7" as "Dumm Aus Leidenschaft / Stupid Out Of Passion" once again showcasing his strange humour but also coming back to the techy floor variations introduced via his Littlebrutalravebastards Series released on labels like Dhyana Records, Intrauterin Recordings and LBRB Records.

To be found on the flip there's a nearly 20 minutes non stop amalgamation of short IDM / Electronica sketches produced by Michael Nowicki a.k.a. Panzerboy 666 which is mostly known under this name for the release of a semi-legendary 7" on Augsburgs Dhyana Records.
(Auszug):

Gebäude Rein, Mehrere Stockwerke Hoch, Kein Zugang Zum Gleis, Aber In Jeder Etage Sind Große
Badezimmer.

Ein Bahnhofsretaurant In Dem Es Nur Eis, Pudding Und Johgurt Gibt. (19:36)

Marian Zazeela (*1940) and La Monte Young (*1935) are an artist couple from the United States who live and work together since 1962 and have ever since taken part in a multitude of projects too numerous to mention. It is far more than music both create as their repertoire also features installation art and paintings. But since our main focus is the music, we concentrate on their just reissued album named 'The Black Record' from 1969 with two lengthy minimal drones that create the ultimate mind expanding atmosphere by hypnotizing the listener and putting him into a state of physical and spiritual trance afterwards. We hear several layers of voices on a deep dark drone as the first track and I could imagine that this drone is in fact the echo of Mrs. Zazeela's chanting voice but it might also be a harmonium or an organ. It sounds too natural and warm for a synthesizer. Whatever it is, it works as a solid base for the wordless chants of both artists. This piece is in fact a selection from a much longer soundscape recorded in an art gallery in Munich in 1969. The minimalistic structure and meandering voice melodies generate a hypnotic and utterly spiritual atmosphere just as if you would witness an Indian meditation ritual. Turn the vinyl around and you will be swallowed by a black hole of sounds. This piece has been recorded in 1968 in the home studio of Young and Zazeela and it predates the cosmic music and proto industrial sounds of early TANGERINE DREAM or CLUSTER by a few years. This album is certainly made for a small audience of people who can put themselves in a state where leaving the body for a spiritual journey is only the next step. Both pieces are far from regular popular music but that makes them even more captivating and intriguing. A challenge for each listener in case he's not used to TANGERINE DREAM's 'Zeit' album yet. Who dares to join us on this strange trip

On his second installment for Holger, Weber further expands the sounds and themes introduced on his debut »eins« (Holger 4,
2014). Adequately entitled »zwei«, it documents Weber's development and growing condence as an artist. Combining inuences
from early krautrock and minimal music to contemporary dance sounds, Weber shows a refreshing appetite for experimentation and
free form song structures. Given these parameters anything seems possible: From the post-techno of »Sklt« via the anti-pop of »The
Bug« to the spaced out »B1 / Warten« and its ghostly dub companion »No4«.

Ectoplasm Girl, Tanya Byrne, returns to iDEAL with the uncanny, ten-stage solo noise hypnosis of 'Unlearn'. Arriving a year on from her sister, Nadine Byrne's incredible 'A Different Gesture: Collected Soundtracks 2011-2012', this suite reprises the repetitive trance states of their 'TxN' album, but at an enervated, slower pace and with more atonal, abstract textures in pursuit of some deeply personal, powerful and psychedelic spirit. It's equal measures industrial ambient, black metal, and ritual electronics, dissolving her ego and diffusing it amidst a spectrum of enchanted voices, rubbling synth swells and frayed tape loops calling for comparison with Atelecine's L.A. noir noise in 'Teamdream', or the bunkered chamber techno creations of 51717 in 'Soldier', as well as the most gutted G.O.D. output with the loping 'Fleshworld', or even Wold at his most mystic, black mecha in the drone pits of '555-Forget'. It's a matter of life and death, and the hallucinatory, psychedelic space between those states - therefore don't expect it to be pleasant or easy-going, as life itself.

With the new release 1112013 "Stopping Outwards", the 'Numbers Trilogy' comes to a conclusion: a milestone in the young life of Stochastic Resonance collective. The work of six artists focusing on the same research which shows how the common language of electronic experimentation can be the basis of many different variations.

Vinyl Reprint of a highly sought after Electronic Abstract Future Jazz Release by italian 'Library/soundtrack' Composer Piero Umiliano /Moggi originally release on 'Omicron' . Piero´s Releases are generally hard to find and very expensive on Vinyl and this here, released on Mental Groove´s Sublabel WRWTWW makes no difference. Here´s a review from a last years CD Edition: Tra scienza e fantascienza", is an album of histrionic Piero Umiliani recorded under the pseudonym Moggi. A Master gifted with a never ending passion for music, innovator by vocation, experimenter in his genetic code now at ease with synths in order to forge sound that could be reductively termed as avantgarde. Timeless atmospheres, alien hypnotic sonorities, modern and charmingly retro, minimal and complex arranged with an impressive taste for the unknown substance the Maestro was going to deal with. Amazing to see how in 1976 Umiliani was already forward in building completely new sounds. A cue among all Happy Accompaniment: it seems a 2013 Minimal House track

Visionist resets his Lost Codes imprint as a new PAN sublabel, Codes, with a killer, collaborative grime/techno collage by Acre and Filter Dread. Marking the first time either producer has collaborated properly, they prove a vital pairing in equilibrium between industrial techno engines, body-scanning UK bass tones and gritty, diffuse urban-gothic atmosphere. Upfront, 'Drumz34' burrows in with viral 8-bit squiggle and squashed subs before 'Flash Speed' arches up a skeletal, mutant 8-bar onslaught and 'Trashed' bruks out the toms on a swooping halfstep techno flex.
Down below, they come with a fiercely darkside droog raver called 'Life', whipping reversed drums, bass and mentasms with very canny Wendy Carlos vibe, whilst 'Unknown' deals in guttural, monotone functions, and 'Blood Artist' pulls coarse lo-fi drums and electronics into sharp focus on an elegantly wasted sino-garage skip.

Alessio Natalizia draws a stylistic line underneath a strong run of releases over the last couple of years with this extended vinyl set re-working all three volumes of his limited 'Voices' cassette series.Compiled, they mark a point of transition between old Not Waving and the new Not Waving (soon to be revealed in a crushing LP of dancefloor gear for Diagonal), presenting 18 reshaped mixes of the tapes' original 23 tracks, all shuffled up like a deck of tarot cards to present a whole new syzygy and narrative. Gleaning inspiration from Ivan Pavlov, Oliver Sacks, B.F. Skinner and the relationship between perception, memory, attention and comprehension', they render a quietly burning mind full of ideas and synaesthetic sensation, from the lush drone harmonics of 'A Part of Thought' to pulsing EBM lab golems like 'The Behaviourist Approach', with a really special touch for beautifully wistful, Eldritch/Italian analog electronics in the likes of 'No Kill' or the lump-in-throat closer, 'Voices'. Perhaps the best comparison we could make is with Pye Corner Audio's 'Black Mill' volumes, but Not Waving's varied yet coherent aesthetic feels more like you're listening to a lost compilation of library music or early industrial music than the work of only one, super-talented guy.

Idle Hands has been broadening its reach both sonically and geographically this year, turning to ambient electronic dub with Portland's Strategy, atmospheric broken beat with London-based Leif and stripped down house with German producer Matt Karmil. This latest EP brings the focus back to Bristol with O$VMV$M, the latest project to emerge from the Young Echo milieu. Comprised of Neek (commonly found bashing out grime and steppers alongside Kahn) and Amos Childs (of Jabu and Zhou amongst others), the eight track release marks a step into even more experimental territory for Idle Hands while retaining the principles of soundsystem pressure that form a backdrop to the label's activities. The brief vignettes on IDLE026 are the result of sample scouring from all kinds of unlikely sources, following the practice Neek and Amos undertook when preparing their first cassette release for No Corner earlier in the year.

VERY Limited Copies (2 black, 1 gold)



Miguel A Ruiz - Climatery











High Voltage Re-Enactment (M.O.M.O Cut + Re Designed It)(Gold Vinyl)

Low Jack and Jean Carval's Gravats label opens 2015 with a new album from prolific psych-drone
artist High Wolf under his Black Zone Myth Chant alias.
'Mane Thecel Phares' is a wigged-out trip thru Afro-centric, riddim-driven psychedelia, breaking
down the boundaries between Sun Ra, DJ Screw, and Vox Populi! with a smoked-out, blurry vision
heightening the effects already felt in his mighty 'Straight Cassette' LP for Winged Sun/Laidtbac.
Mulching the vibes and fibres of celestial jazz, dub and improvised noise into eight papier mãche
golems, the session regresses to a headspace of swampy psychedelia from the amorphous synth
shapes and primordial pulse of 'Belshazzar' to the sub-conscious voices and ancient elegance of 'If
God Is Not Here'. What happens between those pillars remains a mystery, even after you've heard it
- is 'In The Arms of The Parcae' footwork from an alternate dimension Could 'Two Stars, No Cross'
possibly be Francis Bebey's starchild from Andromeda Are the polytonal chorales of 'He Evil'
attempting to communicate in a forgotten language
With your help we can begin to unravel this enigma. Please note down and let us know if you
experience any irregularities in breathing, vision, appetite or speech during or after consumption.

Seq9 oder Sequence9, das ist Anthony Schoffmann aka DJ Gomor und Marlène Petijean aka DTY.
Es ist aber auch diese Sequenz, die nie richtig läuft auf Anthony's uraltem Casio CZ5000... die Sequenz mit den ganz seltsamen Klängen... Das ist die mysteriöse Seite der Elektronik, die dunkle, seltsame Seite.
Irgendwie ist es eine Auflehnung gegen das System der Elektronik selbst.

Anthony selbst, der braucht übrigens auch keinen Irokesenschnitt auf dem Kopf, um aus der Reihe zu tanzen. Mit 12 Jahren legt er an Afterparties in der Schweiz auf, mit 17 schmeisst er seine ersten Raves und kurz danach kommen seine ersten Releases bei ein paar englischen Labels. Und seither Jahre der Komposition und Produktion bei allen möglichen Labels, in Frankreich und sonstwo.

Er stammt aus dem französisch-deutsch-schweizerischen Dreiländereck und wächst in Basel auf. Einer Stadt mit unerwartet reichhaltigem kulturellem und musikalischem Reichtum, welche ihn sehr inspiriert. Ihn, den musikalisch hyperaktiven, der ganze Nächte ohne Pause zum Tanze aufspielt und dann in einer Woche 10 neue Songs schreibt... Wenn er es so sehr liebt, die Leute bis zur Erschöpfung tanzen zu sehen, dann brauchen sie dazu das richtige Material...

What happens far away from pointless party spots, boring student Clubs, Werder Bremen and the smelly station forecourt full of piss, in this beautiful, grey city next to the river More than before, we checked the musical output of the town, listened to recordings from friends and dug the archive.
Back to the origin of our intention - having a platform for all the artists who surround us in our dynamic environment and
structures.
For the five year anniversary of ZCKR Records: a journey through warehouses, rehearsal rooms, workshops and studios of people who create the art we appreciate and who let us look to the future with a great sense of enthusiasm.

An exploration of spiritual identity and femininity, the new EP titled 'Conscious Cunt' from Swiss-born, Nepalese-Tibetan electronic producer Aïsha Devi is the latest release to come from fabric's Houndstooth label.

Besides founding her Swiss-based imprint, Danse Noire, releasing leftfield electronic music from the likes of IVVVO and Vaghe Stelle, Devi's latest solo productions are further testament to her personal evolution. Devi's reconnection with her origins meant a newly formed approach to music production under her birth name.

''Conscious Cunt' embodies different perspectives on womanhood and the dichotomy between materialistic femininity under societal pressure and spirituality.' Devi says. 'It's an EP about sluts, awareness, death, and women in a patriarchal society... enlightenment, violence, resistance, mothers, daughters, consciousness, Guy Debord, Vedas and eternity. It's also a high-five to my grandmother who raised me and passed away early this year.'

Heavily influenced by her dedicated practice of meditation, Devi's work is often visceral and ritualistic, fusing her intense, warped vocal samples with sombre, and at times industrial instrumentation. 'I've been meditating for six years and it has a huge influence on my music. In my way of production, the practice has transformed me, opened my cosmos, expanded my skills, extended the knowledge that I'm modulating in music.' Devi says. 'My voice and my machines are the vibrations of my soul, mind, and body and out of body explorations. Both meditation sessions and music production merged into one same ritual.'

This meditative process extends into the live experience where she incorporates the overtone and guttural chanting techniques she learned, as a healing method through frequencies.

The lead track, 'Kim & The Wheel of Life' is a whirling melodic vortex of echoing synths underlaid by deep rumbling kicks and melancholic undertones before morphing into a vocal-centric piece. 'It's a cynical comment - societal emptiness vs dharma & eternity... or the complete fail of modern feminine icons, empowered but still complying to patriarchal and capitalist codes'

The beatless 'Aurat' is an Urdu/Hindi poem written by Pakistani feminist, Kishwar Naheed. 'It's about revolt inside the marital system and revolution in a conservative society.' says Devi. 'That track is the second 'vox tool' of a series, where the idea is to invade the club with my voice, spreading some political, spiritual and subversive matter that can be mixed by DJs in clubs and raves. Since my previous EP, 'Throat Dub', I'm including a tool in each release and the seriality is the idea, like a collection.'

Whilst 'The Saviour on Spilled Blood', a reference to motherhood, is a slow-building epic, using Devi's dark, chanting voice to accumulate energy and emotion.

Arriving as a precursor to her debut album described as a 'materialisation of her initiatic journey through her spiritual and origin quests' due later this year, the EP will be out on Houndstooth on 24th July 2015.

Mnemosyne is the new album from Berlin based, Italian/Belgian duo Lumisokea. Shedding the bass heavy rollers found on last years Apophenia EP for Opal Tapes, Mnemosyne sees the duo welcoming space and tension into the fold. Most of the groundwork for the record was made during a week long residency at the W.O.R.M studios in Rotterdam which saw the duo make full use of the studios collection of synthesisers from the 60's and 70's. The improvisations with these peculiar machines were subsequently edited and combined with heavily processed recordings of gamelan bells, prepared piano, cello and acoustic drums. A meticulous two year period of reworking and reflection followed before finally arriving at what you have here; Mnemosyne. An exploration of the grey area of sounds that vacillate between electronic and acoustic and aim to show their coalescence and kinship, like shadows of forgotten sonic ancestors. Shards of oblique melody merge with slow-burning rhythms, sudden changes of scenery melt into fog-drenched sonic artefacts. In their own words, "The whole process felt like like cultivating a garden of the imagination which is no rush to be opened to the visitors. With this full length album we explore the more nocturne, narrative and twilight-like angle of Lumisokea. When listening back to it, we had strong images evoking times in an unidentified or unactualized past, like places and events that could have existed, but then didn't. Hence ourreference to "Mnemosyne", the ancient Greek goddess of Memory." - Lumisokea, 2015

Finally repressed!
Over half a decade since their creative partnership was first brought to the public's attention,
Tommy Four Seven and Alain reconvene after time spent establishing themselves within their own
respective fields to present These Hidden Hands; a musical long-player that exemplifies the pairs unique approach to production.If the 'Strix EP' saw them channel their energy solely towards the dancefloor, this project sees them at their most visceral, refreshingly embracing the extended format with a vigour akin to that first demonstrated on Tommy Four Seven's debut album for CLR, 'Primate'.From the confrontational textures of opener 'Trelesire', to the sonically abrasive 'Severed', it's clear that THH are far from just indebted to the innovators of old. The engulfing drama of 'When Told' and harrowing tension of 'Kheium' showcase their singular approach to sound design, their adept versatility in utilising both industrial tones and ethereal melodies. 'Laika', is a case in point. Scattered rhythms, gauzy synths and rugged atmospheres conjure a distressed nostalgia. 'Diesel', which was offered by the pair as the first tantalising glimpse into the project, melds sparse beats with a soaring, creature-like drone before the ghostly motifs of 'Hidden' bring the body of work to a natural close.