Beats Vinyl New Releases - News

12", quality paper sleeve + insert.
Mastered by Matt Colton at Alchemy Mastering (UK) by
Vinyl pressed by Optimal (DE)
Printed by Legno.

UD returns for the second part of their trilogy, this time with reworks by Sw., Area, and Skookum. Suitably deep and strange gear. 200 copies.

* Breathless is the debut EP from Dutch producer Mokona. The EP follows his untitled 2014 white label 12-inch, also released via Templar Sound. The new EP captures four slices of serene, aquatic ambience.

* Breathless opens with the gentle wash of 'Morning Vapour' before Mokona suspends reality with the spacious and meditative 'Shrine Garden'. The flip side of the 12' begins with the pneumatic throb of 'Inner City Test Run', a soundtrack for late night street racing. Tranquilly is restored once more with 'Lake Interlude / White Water', closing out the EP on a soothing note.

Alongside fellow members of Berlin's Janus collective, recently behind nights at
Berghain and Corsica Studios, M.E.S.H. is known for his futurist approach to club
dynamics and production.

On Piteous Gate, tightly gridded and sculpted sound juts up against loose-wristed
improvisation, automated processes, and collage. Standard club syncopation is twisted by sliding tempos, cut and paste time signatures, and indeterminate pacing. Its sound design and compositions are ornate, even courtly, with neo- feudal moods offset by the recurrence of hydraulic hiss and flanger.

A synthetic fuel injector revs opener 'Piteous Gate' to life. Drawing from action- scifi film trailers and the sound design of festival trance, its hardcore synthlines shatter into 'Optimate'—stately, spatial, and whiplash-luxurious, with meandering cybernetic drumming. 'Thorium' sends a slow-motion camera through a melting test reactor: all burnt VSTs and synthetic theorbo and loose drums.

'The Black Pill' smears high-end renaissance sample libraries through arcs of static. In 'Epithet,' temple sewer atmospheres are ruptured by 'Scythians'-style cut-up drums. 'Jester's Visage' indulges a minute-long baroque guitar improv, and territorial youths air their beef in 'Kritikal & X.' Closing out the album, 'Methy Imbiß' is a machinic rhythm track, and 'Azov Seepage' mingles birdlike granular noises with rusted steel clanging.

The LP was recorded in Berlin in winter 2015, mastered and cut by Rashad Becker
at D&M, and pressed on 140g LP and CD.

Argentinian guitarist Courtis and British drummer Moore, sounding out everything from grand pianos and balaphons to metal lampshades and wooden staircases.
'It is a disorienting experience to listen deeply to this music. These lengthy pieces sound densely structured... but with a seat-of-yr-pants improv feel which brings the threat of collapse and chaos... In short, neither salon nor sweat-pit, though informed by both.'

Black channels are Simon and Becky. They are two old friends and kins who were compelled to sonically explore shared preoccupations with folklore, other worlds and the dark tapestry of the imagination long adorned by the wreaths of bad dreams and insomnia. Based in Brighton and London, the duo have been writing together on and off for the past few years and are sat like hens on hours of songs and sounds.

Using the beautifully worn ribbon of tape loops and the expansive hallways of echo chambers, they write curious filmic songs, enticingly strange and beautiful at the same time. Talkative electronics and female evocation make for a lunar landscape with psychedelic curtains and heavy drapes. Their debut 10' record is released on Death Waltz Recordings on DATE

In which the boundary-pushing Swedish composer presents a new recording of his 2010 homage to Cage's legendary '4'33'' work, namely '4'33' - for electric guitar (broken amplifier version)'. The patina of crackle and fuzz within proves perfectly suited to the flexidisc format's inherent infidelity, playing its own integral part in bringing the composition's ideas of absence and minimalism into stark, tangible focus. This is Carl Michael Von Hausswolff's 3rd recorded dedication to the towering influence of Cage following 'Plays John Cage' (Povertech Industries, 1995), and 'As Quiet As A Campfire Or Analogue Motoric And Electro-Magnetic Silence Disturbed By Intuitive Slumber / Mingling Or Dodekaphonic Drones Interfered By Known And Unknown Digital Phenomena' (Ash International, 1997).

Shivers is the trio of Rutger Zuydervelt (Machinefabriek), Gareth Davis and Leo Fabriek, who join forces to conjure up a surreal album of parasitic intimacy and intensity. Though the three have played and recorded together in various combinations, this Miasmah release marks their first output as Shivers and manages to pull out quite a few surprises. Named after David Cronenberg's first film, Shivers the album readily adopts this concept of body horror, the fear of bodily transformation and infection--a theory and technique that Cronenberg brilliantly captures with his first film and many thereafter

Classic/ Experimental.. Skeylja"" An invented word combining the Frisian word for Terschelling, ""Skylge"", and the Icelandic word for island,"Eyjan" Skeylja is an international multimedia project, based around the ideas of improvisational music and the coming together of musicians from different countries and musical backgrounds to create a spontaneous sonic landscape. The project started when The Alvaret Ensemble (Greg Haines, Jan & Romke Kleefstra, and Sytze Pruiksma), who you may know from their eponymous debut on Denovali in 2012, travelled to Iceland to try to find a shared music language with the Icelandic musicians Ingi Garðar Erlendsson, Kira Kira, Borgar Magnason and Eiríkur Orri Ólafsson . They were joined by the 33 1/3 Collective, a group of visual artists from the Netherlands, who began to collect footage that would later be used as source material for the visual side of the performance. Some months later, after a successful week of traveling to beautiful locations and playing music together, the group met again, this time during the Oerol festival on the island of Terschelling in the Netherlands, for a series of nine sold-out shows in an old church, all of which were being recorded. Each artist ""curated"" a rough plan for one evening, which could be anything from hand-drawn images to be interpreted musically to more precise plans of structures and combinations of musicians to be explored. Never were the notes, or the content of the music itself, discussed - this was instead left up to chance and developed through listening intently to each-other, trying to create an atmosphere where each player was vital, but where everyone always worked towards the whole. After ten intense days on the island, all that was left were the memories of the audience and, luckily, a hard-drive with over ten hours of recorded music. After everyone had had a chance to listen back to rough mixes of each night and make comments, the material was taken to Greg Haines' Electricity Works studio in Berlin, where the long process of selecting, editing and mixing began. Finally, almost two years after that first initial meeting in Reykjavik, the album is complete and ready to be released into the world. We hope you enjoy it. Participating musicians: Ingi Garðar Erlendsson (Tuba, Trombone, Thranophone) Greg Haines (Piano) Kira Kira (Voice, Electronics) Jan Kleefstra (Voice, Poems) Romke Kleefstra (Guitar) Borgar Magnason (Contrabass) Eiríkur Orri Ólafsson (Trumpet, Electronics) Sytze Pruiksma (Percussion) CD: Digipak. Vinyl: thick covers + thick printed inner sleeves, 180g vinyl, different vinyl colours, free download.

Here comes Strike150, the 150th Shitkatapult release. We're doing the same thing again that we did for the milestone releases Strike50 and Strike100: Sensational tracks, most of them previously unreleased, collected in the hope of presenting a certain contemporary attitude and music of the now.
Feat. Apparat, Oval, Phon.O, Christian Vogel and many more

As Björk continues to make waves in the electronic scene One Little Indian present exclusive remixes by boundary-pushing artists and DJs personally selected by the Icelandic artist

As Björk continues to make waves in the electronic scene One Little Indian present exclusive remixes by boundary-pushing artists and DJs personally selected by the Icelandic artist

Klaus grinds his measly output of previous years into the dust, delivering a staggering 18 minutes of music for 2014.

'Peak time 5 panel bangerz' (Mixmaster Morris), just in time for the festival season.

Alongside fellow members of Berlin's Janus collective, recently behind nights at
Berghain and Corsica Studios, M.E.S.H. is known for his futurist approach to club
dynamics and production.

On Piteous Gate, tightly gridded and sculpted sound juts up against loose-wristed
improvisation, automated processes, and collage. Standard club syncopation is twisted by sliding tempos, cut and paste time signatures, and indeterminate pacing. Its sound design and compositions are ornate, even courtly, with neo- feudal moods offset by the recurrence of hydraulic hiss and flanger.

A synthetic fuel injector revs opener 'Piteous Gate' to life. Drawing from action- scifi film trailers and the sound design of festival trance, its hardcore synthlines shatter into 'Optimate'—stately, spatial, and whiplash-luxurious, with meandering cybernetic drumming. 'Thorium' sends a slow-motion camera through a melting test reactor: all burnt VSTs and synthetic theorbo and loose drums.

'The Black Pill' smears high-end renaissance sample libraries through arcs of static. In 'Epithet,' temple sewer atmospheres are ruptured by 'Scythians'-style cut-up drums. 'Jester's Visage' indulges a minute-long baroque guitar improv, and territorial youths air their beef in 'Kritikal & X.' Closing out the album, 'Methy Imbiß' is a machinic rhythm track, and 'Azov Seepage' mingles birdlike granular noises with rusted steel clanging.

The LP was recorded in Berlin in winter 2015, mastered and cut by Rashad Becker
at D&M, and pressed on 140g LP and CD.

After the earscape laid by SchleiBen 1 & 2, things take a twist for part 3 with a darker, deeper and downright trippier set of recordings. Just 1 track per side this is not for the faint-hearted but for real sonic explorers looking to tune in and drop out of musicial spheres. With an endless supply of production talent coming out of Dusseldorf, it seemed only right to shine a light on one of the more experimental and dare say, academic producers, in Florian Meyer aka Don't DJ. As co-founder of the Diskant label - home to Harmonious Thelonious - and one third of The Durian Brothers, Don't DJ is about pushing rhythmic boundaries. With just 2 EPs to date, a recent move to Berlin sees Florian broadened the emphasis to that of collaboration. Travelling back south to a studio deep in the Black Forest he pushes the link between polyrhythmic percussion and brooding electronics. Here, then is where you'll find Kosmose, a full 20 minutes of inspection and instropection. Be ready to let go. As almost light relief then, come the musical mind of Tropical Hi-Fi. A secretive figure living beyond the reaches in Northern Australia, his field recording inspired music is a revolation. Laying aside working with his sometime neighbours and friends Ariel Kalma and Mike Cooper, on his upcoming debut album, he provides a special "live" mix meets studio exploration. Folk, psychedelic, (fourth) world music, found sounds of his native habitat are all thrown in a beautiful mind-altering, growing, pulsating ultraworld. Justified and (un)listen.

A home made 86 minute epic space adventure, conceived, written, played, sung and illustrated by an amateur musicians in his bedroom in Hull. It took six years to complete, and has not been released before. 500 COPIES ONLY.

After various releases on Weevil Neighbourhood, two of the label's key figures, Anthone, who made a first appearance in 2012 with the "Aloof" EP and "Double Dub/ Clear View" as well as "Breath/Lungs" in 2014 and Katsunori Sawa, who debuted with the "LR" EP in 2011 together with Yuji Kondo as Steven Porter and later released "The Two Legs" (2013) as well as "Holy Ground" (2014) as a solo artist, team up as BOKEH for their first collaborative outing dubbed "Peace Obscured".

The release comes as a 12" EP combining both artists' trademark musical vocab - industrial dub and noise influenced techno - resulting in a three tracker of relentlessly driving bottom end rave. Black vinyl, 500 copies only, artwork by Lee Noble (No Kings Records/ Bathetic).

Continuity is the past and the past is only a memory, where the time is no more than a word. Dubit's new album tells his story and your story. This is the world in which we live
Capture experiences of sound and mark milestones in time for the sole purpose of saving them again.This idea is born from the necessity of silence and the study of its interaction with noise. It takes shape in the city of Berlin and continues to evolve in various locations around Europe, both in conception and composition. Through the organic unity of field recordings it was made possible to encapsulate actual sounds in a timeless bubble and therefore documenting the experience on physical medium.Amongst the detunes and the distorted memories, sounds play, communicate & coexist.This album tells my story and your story. This is the world in which we live

Ryo Murakami is now ready to launch his new project/label 'Depth of Decay' and its first release is his own debut album. The music on the album is so deep and carefully constructed that trying to describe it may seem pointless. This album is obviously a challenging piece of art that will change your evaluation of Ryo Murakami.

Ryo Murakami (Depth of Decay)
Ryo entered the world of music from the early age by playing piano, and then slowly started involving with analogue machines. .Ryo's productions contain alternative dance music and classical contemporary music. His minimal yet rich music wander between tension and release, lead you towards the depth of the sound, and bring the scene to the next level. Co-running Pan Records and having a dozen of releases under his
belt, Ryo is now ready to launch his own label 'Depth of Decay' on which he releases his first album.

Mark Broom :

A truly prolific artist, Mark has a myriad of production credits to his name having worked with world renowned labels and artists for decades. It all started in the Summer of 89 when Mark landed in Tenerife on vacation and stumbled across the delights of the emerging sounds of Chicago and Acid House. Returning to the UK, he immediately went in search of this new found music - a pair of turntables bought, and with them a musical career was born.

James Ruskin :

Has been working in music for more than 20 years now and is considered as one of the main artists for British electronic techno music, as both producer and DJ. James comes from a background that first put him in touch with hip hop and electro in the 80's and later with the emerging Detroit techno scenes which inspired him to become a DJ in 1991 and then venture into production in 1994. James remains a vital element in the British techno scene today.
Written and produced by Mark Broom & James Ruskin

Génération Sans Futur (Generation Without a Future), Art Zoyd's third LP released in 1980 through Atem Records., comes back to the sound (and lineup, plus Daniel Denis/Univers Zero) of the group's first Symphonie Pour le Jour où Brûleront les Cités. The 17-minute 'La Ville' is a powerful epic including Thierry Zaboïtzeff's prehistoric grunts, complex time shifts, and a tribal/ritualistic feel once again close to the spirit of Magma. But unlike 'Musique Pour l'Odyssée' (title track of Art Zoyd's second album), the music here is fast-paced, less atmospheric, more organized. It plays on the tension that will remain the basis of Art Zoyd's originality: a tribal, atavistic feel contrasting with contemporary classical aesthetics. Actually, Génération Sans Futur may be leaning more toward the contemporary side, as exemplified by pieces like 'Divertissement,' 'Trois Miniatures,' and the manic 'Speedy Gonzales.' 'Génération Sans Futur,' on the other hand, taps into a more visceral progressive rock format and percussionist Daniel Denis actually gets to play drums for a couple of minutes, giving the piece an unusual drive. A strong album.

repress
Third part of four in the Imbroglios series.

Michael Fahres' 'Tibataje' is an evocative piece of modern experimental music, playing around with and commenting on performance, natural sound and natural echo. It was performed on the Island of El Hierro in front of the Risco de Tibataje massif by three drummers and later processed by Fahres in the studio. It is rhythmically varied and allows natural sound and natural echo to be an essential part of the performance and compositional processes. The 'Tibataje' composition has a subdued feel that can provoke the impression of it being a reaction on the art of field recording. Given the religious nature of the rhythmic influences used, 'Tibataje' also has an abstracted ritualistic feel, with the ritual linking up directly with nature and natural phenomena. Michael Fahres was born in Bamberg, Germany on 15 April 1951. He studied Germanic Philology, Theater Sciences and Philosophy, before studying electronic music at the Institute of Sonology in Utrecht and composition at the Music Conservatory in Amsterdam. He has worked in the electronic music studios of Steim and Sonology, in the Erlangen computer studio and in the CEM studio which he also managed from 1976 until 1998. He has composed numerous works and has released on labels such as ECM, Valves and Trikont. His 2007 album 'The Tubes' on Cold Blue Music features a contribution by Jon Hassell.

Thought of Two, Black Hat's first full-length LP, arrives in the wake of his acclaimed Covalence cassette (Field Hymns, 2013), extending the compressed, hypnotic styles of that release into three mammoth new compositions teeming with abstracted rhythms and alien tones. Composed with an intricate system of digital processes and synth hardware, the sessions captured here on record represent the culmination of the tonal explorations and structural decisions that Bean continues to fine-tune in his improvisation-infused live performances

Well, here it is, the arrival of the debut album release by Peterlicker

Let there be darkness. Limited to 500 copies these might be the last available of the 2006-released debut EP of Pik1, also known under his Xbron-moniker or as the founder of the horror-influenced Breakcore-imprint Crop Circles Industries. With seven tracks on this EP the French producer explores heavily chopped Breakcore-attacks, DarkJungle on hyperspeed as well as brutal, super heavy Industrial Drum'n'Bass.

SFX What the FX
SFX is the musical triumvirate consisting of its mebers Jammin Unit, Data J. Cranky and Das Ministerium, a mysterious hyperintellectual collective focusing on hissing, bass heavy musings, warped soundscapes, chirping effects, merciless (self)sampling and meta connectivity as well as error friendliness and indulging intransigence.

With their first album - Can't Get Enough SFX are about to unleash a beast, a clear statement of musical non-music that combines glam and trash, uberly sterile digital bleeps as well as warm analogue tones alike. SFX' uncompromising plunderphonics attitude will destroy your personal hardcore and scratch your mostly beloved record until the trashed stylus tears your favorite song apart. Bass is rhythm, complex beats kill dancefloor crowds due to their asynchronous nature and redefine the term of Hypermodern Jazz with an Industrial attitude. But still: clubbing is a must, although SFX are talking clubbing 4.0 here.Whereever there's harmony, there'll be destruction. De- and reconstruction recorded within 48 hours only - mixdown included. After two intense days everything was refiltered, familiar structures were culled and the condensed cacophonic result was rearranged for a maximum effect that might even shock those who've seen and listened to everything.

A serious amalgamation somewhat in between Swing Kids, Ennio Morricone, Trio, Trap Music, Om Kulthum, Luc Ferrari, Egyptian Lover, Can and the soundtrack of your mothers darkest and most intimate phantasies.

Limited to 200 copies!

This LP is a documentation of the very first meeting of Stuttgart-based minimalist Jazz duo Fifty-Fifty & Swabian sound exploration society Metabolismus. All players draw from decades of experience with different forms of improvisation, using instrumental and electronic sounds known and unknown, to spontaneously create an aural environment of complex simplicity. A wide spectrum of group mind expressions can be heard, from the purely abstract to moments of calm reflection. The title is a meditation on the idea of the impossible, beautifully represented by these words from Alexander Pope:

"Mad Mathesis alone was unconfined,
Too mad for mere material chains to bind,
Now to pure space lifts her ecstatic stare,
Now, running round the circle, finds it square."

The session was recorded during one afternoon in the Summer of 2012 at Sumsilobatem Sound Studio on magnetic tape, any technical imperfections due to the spontaneous nature of the situation were kept in as part of the document. No digital technology was used in the making of this album.
Cover art is hand silkscreened, originally designed by Estuardo Maldonando.
"Metabolic music saves you from a life of grey" - KF

Max Guld was a post-punk musician from Glostrup, Denmark. 'For Enden Af Corridoren' was written, produced, recorded and performed by Max without the involvement of any others. Influenced by the avant-garde electronic sounds of Brian Eno and Kraftwerk, Max created eerie synthesizer driven songs with intricate guitar work and mechanical vocals. More than half of the album are instrumentals. All songs were recorded using a borrowed Moog Prodigy, Roland Organ/Strings, Korg KPR-77 rhythm machine, Gibson Les Paul De Luxe and a Rickenbacker bass. A spring reverb from a TV was also used and an old reel to reel for effects like echo. No sequencer, equalizer or noise reduction was used.

Best Company is a compound of artists who merged their skills on the Vol.1 with

music,photography,illustration,design.

. An overview through the electronic music for imaginary movies and hypnagogic lucid dreams: from opening to credits, from ambient/drone to modern-classical via the jazz-rock, dub, electronica and sonorizations-themes, with a collaboration with 291out a jazz fusion band/collective focused on O.S.T and instrumental landscapes

'Beacons' EP, the debut release on Tru Thoughts from rising producer Werkha, who was snapped up by the label in late 2013 having been championed by Quantic and Gilles Peterson. In another gold seal of approval from on high, Werkha has just been confirmed as the support act for Bonobo on the leftfield luminary's European Tour.

For our fourth release of the season we have a collaboration EP by Dubit, co-founder & owner of Several Reasons alongside the extremely talented dutch man, Reggy Van Oers. This collab delivers a fusion of experimental future grooves with mysterious atmospheres and psychoacoustic approach which will tingle the senses. The first track B.S. keeps a steady mysterious atmosphere with slow evolving off-beat groove. The next track, Planeti, takes a much deeper approach with an experimental twist. The mood throughout the track can feel to change and evolve giving the feeling of the constant attempt to reach the unreachable.

On the B-side we choose to demonstrate how the inspiration from the A-side can influence a diversity of styles. We start off with a man that needs no introductions, Giorgio Gigli, who delivers a superb remix of B.S. by maintaining the original mood of the track and injecting some serious deep driving techno action. The remix is deep, atmospheric and hypnotic with subtle yet
impactful changes throughout. Last but not least we have co-founders & owners of Several Reasons, Mynude. This remix starts off with an alternative experimental approach only to finally reach a series of alternating climaxes. The mood throughout seems to change and move from an almost melancholic setting to a driving machine-like environment.

*Remastered and Reworked 2LP Edition of the limited edition Cassette released in 2014 on Demdike Stare's DDS Imprint. Initial copies on Green and White Vinyl, mastered and cut by Matt Colton, includes an instant download of the album dropped into your account* Mica Levi more or less owned 2014 with the release of that astonishing soundtrack to Jonathan Glazer's 'Under the Skin', followed by this hour long album-cum-mixtape for Demdike Stare's DDS imprint which was released at the end of the year and sold out in a flash. It has now been reworked for this vinyl edition, and then given a full remaster by Matt Colton. Mica is an artist who basically seems to channel attention deficit into exploring and re-shaping a myriad musical ideas and directions without bound - sometimes all at once. She's an artist who has by her mid-20's merged the disciplines of codeine-laced cough syrup-drankin' early '90s Houston HipHop legend DJ Screw, with the rarified sound of London Sinfonietta on her incredible 'Chopped & Screwed' album, got Matthew Herbert to produce her brilliant debut 'Jewellery' and acquire Bjork as a fan in the process. She's produced a bunch of killer, off-beat pop tracks for up- and-comer Tirzah and supplied an impromptu 30 minute Boiler Room set that's still for our money one of the best they've ever put up. And yeah, that's before that 'Under The Skin' soundtrack that showcased another side to her production altogether - all discordant, intense, Ligeti-influenced strings, muffled percussion and frozen drones that came off like a feverishly dreamt collaboration between David Lynch and Nate Young. When asked about the score and working with someone as high profile as Jonathan Glazer she told Pitchfork 'He's a nice bloke—I certainly didn't think he was a wanker.' - which basically tells you that you ain't dealing with the ordinary or conventional when it comes to anything Micachu is involved with. And this hour-long session is perhaps the best thing we've heard from her yet. More or less split into three seamless segments referenced in the title, it journeys out from tense, concrete-fuelled strings to brilliantly ramshackle tape beats and odd pop edits - all brand new work from Mica herself, spooled through her singular, totally inimitable box of tricks. Honestly, we can't think of any contemporary artists who have as broad and limitless an ability to continuously re-contextualise the familiar into something we've really never heard before. We'd have to go as far back as Prince or Arthur Russell to reference anyone who has really managed to tap into as many diverse musical disciplines with this much originality. And if you think that's a bit far fetched - give this a listen and knock yourself out.

As one of contemporary alternative music's most elusive figures, Dean Blunt returns on Black Metal and delivers his most assured and ambitious record to date for Rough Trade. An album of two halves; the crestfallen baritone on Blow is juxtaposed by the inner-city sermonising of Grade, just as the melancholic strumming of 50 Cent gets rattled by the unrelenting stagger of Mersh. With ominous narratives of hunger and loneliness rumbling underneath the gloomy surface, Black Metal is a moonlit cruise through Blunt's cloudy metropolis. There's no telling where he'll go next, but this is one of his finest trips to date

Nozinja fusioniert traditionelle Folklore, Tsonga-Disco, Kwaito und südafrikanischen House zu einem innovativen, afrofuturistischen Ravesound, der mit einer revolutionären Tanzbewegung namens 'Shangaan Electro' einhergeht. Sein Debütalbum "Nozinja Lodge", gesegnet mit einem einzigartigen Soul, atmet den Geist der Shangaan People, ihre Sprache und Musikgeschichte. Es ist ein belebender Ausdruck zukunftsgewandter Dancemusik, mit dem sich Nozinja an vorderster Front der Visionäre der digitalen Diaspora des 21. Jahrhunderts rund um unseren Planeten einreiht.

AAAA's debut album »Shiva Watts« sounds both vivid and complex, capturing the raw energy of the Mexican producer's praised live performances at Mutek, Boiler Room and elsewhere. It is a direct result of tireless, disciplined experimentation with analogue hardware. The 16 tracks on »Shiva Watts«, which is available for the first time ever on vinyl through the Berlin-based ANTIME label, take their cues from a variety of musical styles, most notably Acid, combining elements of hard-hitting Techno, textural IDM, dry-but-funky Electro and trance-inducing House with lush Ambient-leaning interludes. »Shiva Watts« is an album which celebrates stylistic and emotional ambiguity; which provides the perfect soundtrack for a world yet to come - and everything that will follow after that.