Beats Vinyl New Releases - News

Sydney/London three-piece SEEKAE are excited to announce details of their third album and attendant tour. The Worry will be released via Future Classic on 12 September 2014. Over the past six years, the Australian-English outfit have won a hugely loyal following and a swag of awards for their signature blend of electronic pop, IDM, post-dubstep, post-rock, house and ambient. Their stunning debut The Sounds of Trees Falling On People was anointed one of the albums of the decade by FBi Radio; assured follow-up +Dome achieved Mojo Magazine's Album of the Month in the UK and saw SEEKAE nominated for four Australian Independent Music Awards. The band then took +Dome on the road, touring Europe, Japan and North America, culminating n a sold-out Sydney Opera House show with an 8 piece-orchestra. The band have emerged after two years in the studio armed with The Worry, their most ambitious and intimate work yet. The LP sees percussionist Alex Cameron step up to vocal duties for the first time, exploring themes of nihilism, revenge, and - occasionally - the redemptive power of love. The band have had a great start to the year, with a successful SXSW visit and three sold-out UK shows. The 3LP super-deluxe vinyl re-release of +DOME andThe Sound Of Trees Falling On People completely sold out soon after its March release.

Brussels based Yves minimal discography belies his profound ability for sound design and narrative in electronic music. Previous issues on LINE and Sandwell District have blended techno and sonic art practices into an abstract landscape full of disjointed rhythm, cavernous depth and an enduring originality in his choice of sound. This 12' release on Opal Tapes consolidates those practices with a darker sonic palette than usual. His work sound tracking film, theatre and dance performance alludes to a deep understanding of dynamics in electronic composition. Box Caisson opens side A with an ultra deep shuffle through open circuitry, amp buzz and stabbing kick and bassline combination. The track setting up the expansive but highly ordered employ of sound at Yves command. Side B both brightens and darkens simultaneously as a stronger sense of melody is introduced on Eye Splice, a cinematic cut evoking science---fact industrial work lines and gelatinous mid-range detailing. The E.P. was mastered by Matt Colton at Alchemy Mastering May 2013 and was composed by Yves in late 2012. TRACK LIST:

(p) & (c) To Russia with Love under exclusive license from ENAU.
Limited edition. 200 copies on 180gm black vinyl.

Please note: Due to error the tracklist on the sticker for the A-side is incorrect. It runs 'Dream In Colour', 'Controller', 'Dance With Me' rather than what is written.


Eckoclick is the brand new collaboration between the Slowfoot signed producer, Crewdson (aka Hugh Jones) and the fast rising vocalist, Femme (aka Laura Bettinson). Their debut remix of Bambooman's 'Sun' received alot of radio support, mainly from Gilles Peterson on BBC 6 Music, who also put the track on his Brownswood Bubblers Vol 10 compilation. Early support from The FADER, BBC R1 Introducing, BBC 6 Music and The Line Of Best Fit.

#3 Live Act of 2013 at Resident Advisor, one of the most in demand remixers around, a total of 156 gigs in 2013, releases for Rush Hour, Ovum, Macro; booked out months in advance from Berghain to Ibiza to the main electronic festivals ... KiNK: Arguably the world of dance music has not witnessed anyone else rising so clearly from bottom to top just by the centrifugal force of sheer talent. Being based in Sofia, Bulgaria, without a support network, a campaign or any media hype, his music alone - live and in the studio - created a momentum whose end we have yet to see. Lenin said: 'Communism is Soviet power + electrification of the whole country.' Hardly did Lenin suspect what an inspired take on these words could do: post-socialist techno. A child of 80's late socialism, KiNK grew up on the home computers Bulgaria's IT scientists had created by backwards-engineering Western technology. Fueled by nuclear energy on the edge of desaster, a whole generation of kids was trained to hack. Dance music gradually dripping in through early dial-up internet connections, the acoustic fingerprints of distant parties put Eastern producers from KiNK to Nina Kraviz to Vakula under a spell. Yet KiNK spent years of backwards-engineering the sounds of Detroit, Chicago and early Warp.

'Push' sees the bridging of two minds, a spontaneous event of shared loops, ideas and vision. My Panda Shall Fly & Mau'lin join creative forces giving birth to five abstract free-form compositions. Having followed each others work for some years, the pair found themselves in an East London studio first commencing a sonic dialogue just days before Christmas.

Each track breathing a new life; a conventional genre is hard to pin down. Fusing elements of neo-jazz, broken house and down-tempo ambient, resulting as an eclectic product of unforeseen joint creativity.

Opening track 'Sea Beast' heralds entrance into a murky journey through time and space. With jilted, broken keys drizzled upon a throbbing bassline a distant moan finds its way through dense textures. 'Red', eases up tightened bolts, it lifts a hazy smog with its loose, almost 'Buddha Lounge' melodies. A poly-rhythmic venture of crossing synths, snares and percussion each teasing the other in & out. Taking you into a videogame-like realm, 'Gingerbread House' summons intrigue with a conflict of virtuous and sinister emotives. Its minimal pulsing bass line transports an ethereal synth with playful bleeps and shuffling stirs. Calling in Irish outfit Lakker, they instinctively gravitate towards the more organically moulded '15Keys'. Dismembering a canon of cascading marimbas and chromatic percussions they splice and reconstruct it into a euphoric slow burner. Marking the last leg of an enchanted journey, 'I' finds its dance-floor energy in swelling melodies and a confident staccatoed bass gifted with sharp hi-hats & breaks. Twinkling keys descend as if embossing a newly-cleared night sky with falling stars.

Devoid of preconceived concepts, MPSF & Mau'lin have managed to bind together their own musical idiosyncrasies creating an EP of seductive suspense and intelligent textures.

'Heal' is 21 year-old AxxoN N's 4 year labour of love, a mind bending debut album with each track addressing and coming to terms with states of depression and anxiety.
Sourced almost entirely by samples, it's a enlightening work that is virtually impossible to categorise, perhaps a distant bastard cousin of Autechre and the more fluid experiments of Kraftwerk around the time of Radio Activity. This music is painted out of a deep blue and grey canvas where darkness is omnipresent, but as the music unravels it becomes ever more unpredictable, with bright flashes of melody jumping out of the dense landscape.

PR by Prescription (reviews to follow)

Pipé Scuttleworth & Jeremiah Klinger team up for this Detroit label's 2nd release. Scuttleworth distills frenetic beats & chirping melodies; Klinger complements the spastic w/ a calm reminiscent of Caribbean waters.

Light Sounds Dark fire another bolt from depths of genuine obscurity. There's not much we can tell you about "Untitled", apart from the fact that this is about as righteous as it gets: A mirrored, triple-gatefold sleeve housing a bevvie of unidentified, amazing, terrifying, sumptuous and sexual sounds. We're probably best leaving LSD themselves to explain it in their own words:

"This Album depicts an Extraterrestrials extortion to us, explaining how to: Link life to death in a continuous experience. Utiilize the resulting thanatonic energy to travel faster then the speed of Light, turn matter into consciousness and back again, alter evolution at will and exist simultaneously at every moment of time. Move the entire Universe into the fifth dimensional realm, and say when in history it is possible for this to happen. Light Sounds Dark has also received other information it cannot understand. Since this information was given to us directly but not for us per se, it must be communicated to others, many of whom are better prepared then us to receive it. Accordingly we were shown how to make this Album into a Psychotronic, or mind-matter interactive device which is activated by the approaching listener. By doing this, new information will come to you through the active use of the divine proportion, which is the proportion of life connecting to death."

The latest from Tri Angle Records is a new album by Bristol-based producer Vessel. It's titled Punish, Honey, and it sounds as sleazy as it sounds

A producer working tirelessly for Bristol's Young Echo group, Vessel is following up his first solo record of dark electronica with 'Punish, Honey'. Not interested in repeating himself, Vessel has turned to industrial and acoustic sounds for his second record, deigning to create something heavier and rawer and equally confrontational

Streng limitierte 10" des legendären Hamburger Pudel Labels! Weltweit gibt es nur 500 Exemplare und nur erhältlich auf Vinyl (nicht digital!). Mit einem fantastischen Remix des Londoner Acts Cloud Boat, die sich Me Suceeds' Track "Thats Why I Cast A Shadow" vornehmen. Auf der B-Seite überzeugt der Dial-Artist Christian Naujoks mit einem wunderschönen meditativen Track. Coverartwork von Alex Solman.

dedicated to promote young and evolving artists and to present musical diamonds in the rough, raster-noton is curating the unun series, which name derives from the atomic numbers of the chemical elements 111-119. »vortices« is ueno masaaki's first release on raster-noton, and the seventh release of this series.ueno masaaki takes his musical cue from natural phenomenon and laws of nature by trying to reconstruct, not simulating them. the results are mainly rhythmical patterns that set off a chain reaction, expanding and contracting and creating new formations all the time.the four tracks he presents on the EP are characterized by solid sound structures that appear to be very harsh and straight, sometimes even brutal, whereas the high pace even intensifies this impression. apparently repetitive at first sight, the tracks are in fact highly complex and intelligently arranged, presenting unforeseen breaks and shifts in direction.

Jimmy Billingham returns to Opal Tapes with Holo Earth, the first HOLOVR 12". The two sides comprise of blended suites covering Billinghams past working with tapes and hardware into a future of more complex composition and convolving sample work. At times the record is sweet, drums bounce and bip with filigrees of synth whirling through like wind in a bottle. At other points the record empties and the lonely pulse of Venn Rain (Jimmy's earlier project) is felt most strongly. Estranged and blue lipped, the field recordings of alien environments litter the blur emerging. A haunting listen.

Detroit's Travis Galloway, he of ALL GONE Records and Traag brings the Siobhan alias to Opal Tapes for a bout of lo-fi hoods up battery. Shifting templates of dank electro and raw cracked techno step together with raudive announcements commentating the current disorder of the head. Michigans industrial backbones is present throughout the recording, many sounds black on grey but this time Siobhan hangs gobs of pink muck and faded neon over his rolling perc. Like the district the release is named after, watch where you put your feet.

Will To Be Well is the new studio album by Dalhous, their second for Blackest Ever Black. This double-LP reflects writer-producer Marc Dall's continued interest in the life and arcana of R.D. Laing, but also alludes to more universal and enduring mysteries: the relationships between body and mind, illness and wellness, the physical and the metaphysical. The fifteen tracks assembled here also showcase the maturation of a uniquely gifted and expressive composer: Dall's stirring, efflorescent melodies and stately harmonic architectures, with their grievously honed simplicity, are a delight: lucid, lyrical, immediate. For all the modernity of Dalhous's approach, the album recalls a bygone era in synthesized and sample-based music, a time when its practitioners were not just set-designers but storytellers too. Will To Be Well arrives just one year on from the Edinburgh-based project's tenebrous debut, An Ambassador For Laing, which was released to widespread acclaim in Spring 2013: The Wire praised "a frequently beautiful music, whose often calm surface belies the powerful currents moving beneath it", while FACT called the LP a 'wonderfully compelling head-scratcher...opaque, elusive - and fascinating.' Nonetheless, a notable shift in tone has occurred in the fourteen months that have elapsed. If Ambassador was a tussle between darkness and light that ended in stalemate, with Will To Be Will it seems the light might just be winning. Pieces like 'Transference' and 'Her Mind Was A Blank' project a rapturous psychedelic intensity; 'To Be Universal You Must Be Specific' and 'Entertain The Idea' adopt the serene ambient register of recent Dalhous EP Visibility Is A Trap; while 'Sensitised To This Area' goes about its business with an almost Balearic swagger. But light too can be oppressive: the sun that gives life can also burn, and bleach, and blind. And even amid the endorphin rush of the album's most ebullient passages, there is the sense of a greater melancholy, an intractable doubt, lurking beneath the surface. Dalhous's music is suitably paradoxical, managing to sound at once futuristic and folkloric, both technologically advanced and avowedly pastoral. The elegiac repetitions of 'A Communion With These People' and the pagan drones of 'Lovers Of The Highlands' speak of Dall and his studio partner Alex Ander's deep connection to the rugged contours of their native Scottish landscape, while on 'Four Daughters By Four Women' and 'Thoughts Out Of Season' convulsive post-rave rhythms are employed to evoke ancient natural cycles. Though Will To Be Well is a less obviously eerie album than its predecessor, Dalhous's nose for the uncanny remains. A defining album from a major young artist. Listen:

After the success of their first EP 'Bells from the Deep End', we've decided to do a follow up with this new EP. Another cracking limited edition silk screenhand/handmcut sleeve (300 copies) is to be had for early purchasers (the first one sold out almost instantly), and we expect more dancefloor deviance with their newest grooves.

Golden Teacher started life as a studio collaboration between Glasgow's experimental hardcore trio, Ultimate Thrush and Glasgow's all analogue house duo, Silk Cut. The results of their collaboration turned the ears of all who heard them, not least Twitch who after one listen asked if he could release the project on Optimo Music label.

Do Not Go Gentle Into That Good Night is the second EP from Golden Teacher's sessions at The Green Door studio, recorded a few weeks after their first. Recorded straight to tape in one take, this record sees the group and its varying collaborators explore darker, hypnotic song structures with a heavy emphasis on polyrhythmic grooves and 6/8 time signatures. Again the music is completely improvised with dubbed-out production and mixed live.

It's a little hard to describe Golden Teacher's sound on this record (always a good thing in our book) but imagine Arthur Russell's Dinosaur L, Liaisions Dangereuses, mixed with a Shackleton edit of west African drumming. As wild as they sound on record, wait until you see them live!

This is heavy, rhythmic dance music, If you are looking for slick, smooth, generic computer made tunes, this release probably isn't for you, Sugar.

As part of Record Store Day 2014, Peter Zummo's Lateral Pass album will be released by new London independent label Foom.
Zummo's Lateral Pass suite continues on stylistically from where Zummo With With An X (reissued by Optimo Music in 2012) left off, with 4 unique and arresting movements - 'Sci-Fi,' 'Slow Heart', 'Song VI' and the original, quintet version of one of the most acclaimed of Peter Zummo and Arthur Russell's collaborations - 'Song IV'.

Originally written as the score for the Trisha Brown Dance Company production of the same name, Lateral Pass prominently features Arthur Russell on amplified cello and vocals, as well as regular Arthur Russell collaborators - Bill Ruyle (on tabla and marimba) and Mustafa Ahmed (on marimba and percussion), alongside the acclaimed accordionist Guy Kluvecsek (collaborator of John Zorn, Alvin Lucier) and of course, Peter Zummo himself on trombone.
Peter Zummo is best known for his work with John Lurie's Lounge Lizards, Peter Gordon & Love Of Life Orchestra and of course, Arthur Russell. Zummo's signature trombone style, renowned for it's rich and soothing tone, has become one of the most beloved features of Russell's celebrated sound. As well as being close friends, their musical symbiosis was so complimentary that they almost seemed to form a single entity at times - to the point where it would be hard to imagine one's music with the other. Lateral Pass provides another example of the fruits of this tragically ephemeral relationship, as well as a further insight into Arthur Russell's cello-dominated World Of Echo period, which resulted in arguably his greatest work.
Recorded live at Battery Sound, NYC in 1985, Lateral Pass was mastered in Brooklyn by Paul Gold from the original ¼' tapes in the summer of 2013, exclusively using analog equipment (in the case of the vinyl version) and foregoing compression in order to preserve the dynamics of the recording.
In contrast to the alternate version of Lateral Pass released by New World as part of a CD only release in 2006., these arrangements are unheard and exclusive to Foom. We are proud to present Lateral Pass on vinyl for the first time, accompanied by US artist Nancy Graves' original artwork from the original shows.
Release Date: 180g vinyl from 19th of April 2014. Various digital formats from the 26th of April 2014.

Peter Zummo is an American composer and musician, based in New York City. He plays the trombone, valve trombone, euphonium, and also sings. He is an important exponent of the American contemporary classical tradition whose compositions explore the methodologies of numerous forms and styles. He describes his music as 'minimalism plus a whole lot more'.
Peter Zummo recently collaborated with Maximillion Dunbar on his Woo Daps release on RVNG Intl. and is currently performing with Billy Ficca (of Television) and Ernie Brooks (ex-Modern Lovers) under the name "Bear 54".

London label Diagonal continue their swerve into caustic dancefloor territory with the debut pair of 12' releases from Bronze Teeth. Their extended technoid grooves perfectly match the project's name — they're tough, hard-edged and intricately sculpted for tensile strength and visceral impact.Traces of the sounds that feed into Bronze Teeth can be heard in the duo's individual projects. Dominic Butler is one-third of Factory Floor, the London-based trio renowned for their wiry, dynamic live shows; his modular electronics are an integral component in that band's devastating cocktails of Morse code electronic blips, drum and guitar. Richard Smith meanwhile, records as L/F/D/M, and debuted with a scintillating clutch of acid tracks on Optimo Music in 2013. Bronze Teeth offers them free rein to explore their own interests in sound, and in particular the potential for chaotic interaction between metallic programmed rhythms and the fleshy pulses of the human body. A Waif's Rent opens hard with 'Albion Pressure' ushered in by a cloud of distortion and teeming particulate matter. It gathers momentum and fury as it plays, scuttling forward like a column of ants. On the flipside 'Cut Bronze and 'Tephra' hew stark funk from woody drums, tellingly akin in mood and effect to recent Diagonal releases from Powell and Russell Haswell.

One of the most intriguing artists on the Hospital Productions roster, Lussuria came to prominence with the release of three tapes as part of the 'American Babylon' series in 2012 which were eventually compiled into a double vinyl edition last year. His opiated atmospheres brought together the ritualistic appeal of late '70s and early '80s Italian industrial music crossed with the claustrophobia of early material from The Cure and the decadent, voyeuristic compulsion of Pasolini flicks so enamoured by Coil.

Mark Fell and Mat Steel's second EP as SND arrived a year after their debut 'Tplay' and continued to explore a distinct, highly individual take on electronic Minimalism, House and UK Garage stripped to its bare bones. The tracks here more or less split themselves into three distinct categories: the first detailing the
brilliant swing and shuffle of their reduced UKG mutations, with '22' in particular perfecting the balance between academic reduction and kinetic, feminine motion. The second outlines a more linear approach utilising reduced House and Techno templates, while the last includes more experimental works such as the proper fwwd bass-pulse arrangements on the previously unheard B2 and the frequency fxxckery of closing track D3.
With the original DAT tapes remastered and cut by Rashad Becker, this series is a real treat to followers of SND and Mark Fell, and an essential eye-opener for anyone unfamiliar with this
incredible early material.

Mannequin is really proud to announce the forthcoming brand new 12'' from Tropic Of Cancer, one the most important realities in the
modern post-punk and darkwave scene.

The first release in 2013 comes from Kyoto based artist Katsunori Sawa. Sawa is one half of japanese duo Steven Porter (the other half being Yuji Kondo), who made an appearance on the label in late 2011 with the "LR EP".
"The Two Legs EP" continues pretty much where the duo's earlier outing left us sound wise. Sawa's very own take on the mid tempo spectrum results in four tracks that, regardless of their obvious focus on rhythmic repetition, appear either internally unstable and arduosly brought under control or both brutal and fragile at the same time.
It is that tension between aggression and timidity, control and unrest that Sawa seems to contribute to the joint venture with Yuji Kondo and we're very happy to present the musical outcome of this solo project on "The Two Legs EP".

Anchored between the end of the 80's and the beginning of the 90's, when industrial music courted funk, when electro(nica) made a shy appearance and house was visceral and plaintive, also inspired by current R&B productions and futuristic hip-hop, Tropics of Love is a slow tempo record that shines like a steel sun and rings diabolically romantic. 'On the Beach', a Balearic sombre take on Neil Young's classic song, makes you melt with pleasure; 'This is My Life', a Lil' Louis inspired scathing techno attack makes you dance; you put your arms up in the air for 'Bring Your Love', a pure gem of mournful pop with Luke Jenner of The Rapture on the mic; you move your backside to the syncopated beats and the feline voice of Akwetey (Dragons Of Zynth) on 'Each Other'; and only Joakim can make you fall asleep with your eyes wide open on the deviant electro jewels that are 'Three Lazer Fingers' and 'Hero'. Altogether retro futuristic, nostalgic and forward looking, danceable and contemplative, Tropics of Love draws the fine contours for the soundtrack of a summer that promises to be radiant and solar.

Sean Pineiro combines different musical elements to one stringent sound story, filled with anecdotes.Fester Bestandteil einer jeden Labelarbeit: Bei zig eigesendeten Promos Preziosen von Prüll trennen. Dass der digitale Abfalleimer kaum der adäquate Aufbewahrungsort für die Produktionen eines jungen Herren namens Sean Piñeiro ist, war Ki Records schon nach schnellem Durchskippen klar; welches Glück unser Label hatte, die Tracks überhaupt in die Finger zu bekommen, aber nicht: Denn eigentlich hatte Piñeiro nach einem abgebrochenen Studium der Anthropologie in Utrecht Jazz-Pianist werden wollen; es verschlug ihn nach New York, wo er statt dem Klavierschemel jedoch die Bank drückte - und zwar im wahrsten Sinne des Wortes - bis er sich schließlich entschloss, sein Glück beim New Yorker City College zu versuchen und dort Music Composition zu studieren. Zwei verworfene Karrieren brauchte es also, um Piñeiros 14-Track-starkes Debütalbum auf Vinyl und CD zu bringen. Ob sich auch der Titel der Platte - Saved once Twice' darauf bezieht

(June Cargo Collective Title) One of the first fruits of Fhloston Paradigm rose out of the very popular 'King Britt presents Fhloston Paradigm' Hyperdub 12' in 2011, the name itself a fitting misspelling of the destination from the film Fifth Element, called 'Fhloston Paradise.' This initial EP won over many new fans with its inspired vision of how music with its DNA in a vintage future - formed by a childhood growing up with the peak of Science Fiction, from Close Encounters, to Blade Runner and Doctor Who - can sound. It hit upon a creative and adventurous way to fly above the needless analog and digital binary and represent both sides. 'The Phoenix', King Britt's debut album as Fhloston Paradigm is unlike anything he's done before, extending out of the principals laid down by the early EPs and excelling in turning beautiful production and a mind brimming with rich mental imagery into an album that reflects and ties together sci-fi's musical history and concepts without being weighed down by them, and has a strong running through it without the pressure of overbearing concept. The album rides up and down in mood, opening with the claustrophobic paranoia of 'Portal 1's slicing roto-blades and solemn chords, next to the desolate, slow-building ultra-rhythmic techno of 'Race to the Moon'. Then there are pockets on the album, especially with the introduction of Pia Ercole's aquatic-operatic vocals, that sound as if optimistic space age exotica is being tested against the more amorphous sonics of modern electronica. There are also moments of bleakness, with 'Chasing Rainbows' a metallic drum machine work out pitted against rubbery synth chords that remind of broken techno, contrasted with moments of head spinning beatlessness, like the crackling glitches and subliminal messages of 'Perception', or the undulating sun-baked ambience of 'More'. The album has two dramatic peaks; first, the gorgeous anthemic soul of 'Never Defeated' with vocalist Rachel Claudio repeating a tense lyric over fretless bass, gently building in melodies, vocals breaking away into harmonies; the other is an unusual take on dub techno with 'The Phoenix' which builds an icy synth sequence over spacey, dubbed out shimmering drum patterns, feeding in tendrils of counter-melody and echo. Then there's the racing 'Never Forget' all sirens and sea-sick bassline. The album finishes on the delicate 'Light On Edge' with Natasha Kmeto delivering a sighing repetitive vocal over a delicate mesh of bleeps, whooshes and soft chords. This is emotive and imaginative music, for deep voyaging.

M Geddes Gengras is one half of Duppy Gun Productions, and a prolific music producer on his own. Ishi will be released June 24 on Leaving Records. Download card with vinyl includes all 4 tracks. XLR8R: 'The 'signature sound' of Matthewdavid's Leaving Records imprint has been joyously hard to pin down since its inception, with the label anchoring itself in the world of abstract beats as much as it is unafraid to venture into lopsided noise, refracted house, musique concrete, and, in the case of a forthcoming record from M. Geddes Gengras, sprawling ambient expeditions. The artist's Ishi LP offers a series of elongated synth expeditions. M. Geddes Gengras' work is described as being 'based in modular synthesis, comfortably straddling a variety of forms and remaining rooted in a deep affinity for the limitations of analog electronics and a keen ear for timbral manipulation.'
Named after Ishi, 'the last wild Indian' who appeared at the age of 49 in 1911 North America as a complete outsider to the modern world, the effort's three tracks (with a bonus cut in the CD/digital packages) are said to be inspired by what the artist describes as, 'the schism that exists between the world we live in and those stuck on the margins of it—perpetual outsiders and their quest to understand the torrent of information they are constantly subjected to.''

A rare synth classic lovingly reissued. French electronic pioneer Bernard Szajner's 1979 concept album based around Frank Herbert's cult Dune Trilogy. Dystopian sci-fi drones and otherworldly melodies drift across the stereo spectrum, creating a multi-layered, deeply immersive listening experience.
Remastered from the original tapes by Rashad Becker in Berlin, and with a new sleeve reimagined by acclaimed Barcelona-based designer Arnau Pi (Young Turks, Hivern Discs, DJ Kicks). Includes two lost pieces from the original sessions and never before heard, left off because Pathé Marconi EMI considered them to be 'too futuristic'!
Andy Votel on "Visons of Dune"
"As a long-time fixture at the far-end of my Euro-electronic shelf this Gallic-magnetic conceptual synth-pop classic has been in risky disc-jockey orbit waiting over 30 years for the right time to touch-down on planet earth to re-fuel. With the recent critical resurrection of Jodorowsky's un-made version of Herbert's sci-fi blast-masterpiece and more and more electronic music fans veering from dance-music into the sub-genres of PINA and Dark Ambient the eve of the original novels 50 year anniversary seems like the perfect time to unleash this lost slice of Zeuhl-skool modular-pop constructed by Grenoble born synthesist Bernard Szajner. His previous CV of creating lazer light shows for the likes of Gong and Magma earned him enough Kobian stripes to scale an authentic bridge between Zeuhl rock and early synth-pop amongst bands like Eskaton, Art Zoyd and Stabat Stable but the inclusion of Magma vocalist (and comic artist) Klaus Blasquiz and drummer Clément Bailly earns VOD the Wüdü wax seal. Few LPs manage to successfully connect so many important dots in French outer-rocks vast colouring book where Igor Whakhevitch meets Jean Michel Jarre via Massiera, Gilbert Deflez, Hydravion and Artefact... Zed however paints every page black (and silver) and is still one leaf ahead."

A rare synth classic lovingly reissued. French electronic pioneer Bernard Szajner's 1979 concept album based around Frank Herbert's cult Dune Trilogy. Dystopian sci-fi drones and otherworldly melodies drift across the stereo spectrum, creating a multi-layered, deeply immersive listening experience.
Remastered from the original tapes by Rashad Becker in Berlin, and with a new sleeve reimagined by acclaimed Barcelona-based designer Arnau Pi (Young Turks, Hivern Discs, DJ Kicks). Includes two lost pieces from the original sessions and never before heard, left off because Pathé Marconi EMI considered them to be 'too futuristic'!
Andy Votel on "Visons of Dune"
"As a long-time fixture at the far-end of my Euro-electronic shelf this Gallic-magnetic conceptual synth-pop classic has been in risky disc-jockey orbit waiting over 30 years for the right time to touch-down on planet earth to re-fuel. With the recent critical resurrection of Jodorowsky's un-made version of Herbert's sci-fi blast-masterpiece and more and more electronic music fans veering from dance-music into the sub-genres of PINA and Dark Ambient the eve of the original novels 50 year anniversary seems like the perfect time to unleash this lost slice of Zeuhl-skool modular-pop constructed by Grenoble born synthesist Bernard Szajner. His previous CV of creating lazer light shows for the likes of Gong and Magma earned him enough Kobian stripes to scale an authentic bridge between Zeuhl rock and early synth-pop amongst bands like Eskaton, Art Zoyd and Stabat Stable but the inclusion of Magma vocalist (and comic artist) Klaus Blasquiz and drummer Clément Bailly earns VOD the Wüdü wax seal. Few LPs manage to successfully connect so many important dots in French outer-rocks vast colouring book where Igor Whakhevitch meets Jean Michel Jarre via Massiera, Gilbert Deflez, Hydravion and Artefact... Zed however paints every page black (and silver) and is still one leaf ahead."

If you heard Obsidian last year, you already understand. On his sophomore album as Baths, Will Wiesenfeld fully shed of his sonic influences with a staggering work of graveyard beauty. Contrasts to the other artists became null. Giving it a 8.6 'Best New Music,' Pitchfork hailed it as a 'subversive work that gets uncomfortably close to pop, confronting closed minds with what they don't want to believe.'

Five years after founding Le Révélateur, Montreal-bred musician Roger Tellier-Craig returns to Root Strata with Extreme Events, a collection of dense sonic studies that betray a futuristic and timeless beauty. Alongside collaborator Sabrina Ratté, who creates the project's videos and live visuals, Le Révélateur operates at the ideological intersection of audio and visual, analog and digital, nostalgic and anticipatory, human and machine. Extreme Events is characterized by complex rhythmic asymmetry and twinkling aesthetic resonance - ultimately a prescient re-vision of hypothetical cyberpunk futures realized in the desert of digital decay and burgeoning artificial ecologies.

The now 20 year old Suffolk lad has turned worldwide House phenomenon in an incredibly short amount of time. His raw edged EP's for the RAMP Recordings sublabel Fourth Wave in 2011 were hard to categorise, and even harder to forget. 2012 has been even more rewarding for the young producer, with the peak time disco house throwback track '90's Prostitution Racket' and the ridiculous 'Demolition Man' collaboration with Kevin McPhee cementing his reputation as a hit machine. Gerry followed this by releasing his rough and tumble 'Yeah Come Dance' EP with Techno institution Delsin, to similar global effect.

The pressing, antagonistic and almost claustrophobia-inducing sounds Meander introduced us to on his Carbon album on the well-respected Low Res imprint in 2012 gets a follow-up in the form of Gazing Long into the Abyss on Ruffneck's Tainted Audio's imprint. Ophidian's Meander project serves as an outlet that allows him to take take us places his hardcore alias won't, and this eagerness to pursue the experimental shines through in the 15 tracks on Gazing Long into the Abyss. Whereas 2012's Carbon album was a foray into the more dreamy and melody driven side of breakcore, Gazing Long into the Abyss sets a much darker tone, taking drum & bass as the middle ground and sees intense experimentation in all possible directions.

Over the past five years, Ricardo Donoso has sharpened his vision and craft into a diamond point.
Beginning with 'Progress Chance', into 'Assimilating the Shadow', and now 'As Iron Sharpens Iron, One Verse Sharpens Another', Donoso has pushed deeper into grid-like, trance-infused tracks. This new EP simultaneously closes the cycle began with 'Progress Chance', and blows the possibilities for the future wide open. Split over two parts, 'As Iron Sharpens Iron, One Verse Sharpens Another' is a treatise on duality and Donoso's strongest statement to date.Opener 'Affirmation' references 'Assimilating the Shadow' while still pulling the listener deeper into the darkened pyramid that Iron/Verse occupies. Donoso's composition and production techniques have grown immensely since 'Progress Chance', and the pacing over the course of these 12's is impeccable. Bleeding into 'The Sphinx,' the focus is further dialed in. As the geometry that's graced the covers of each album has become more acute, so has the music contained therein. 'Diagonal Environment' features a relentless pummeling of heady bass sequences and subtle leads while the 'The Old Straight Track' mixes elements of blackened dub and burnt-out goa into something new and addictive.

Cold Name heisst seit Anfang 2013 das Soloprojekt von Nobuyuki Sakuma von Jesse Ruins (Captured Tracks). Die erste Veröffentlichung erschien 2013 auf Kassette, eine zweite ist für das Living Tapes Label in der Pipeline. Das Debütalbum "Eat Your Hand" enthält 12 kürze elektroniche Songs des japanischen Electro-Experimentalisten.

Head Boggle returns to the vinyl format with what is perhaps his most refined and focused work to date. "Serge Modular In Hi-Fi" was recorded in early 2012 at the S.F. City College Electronic Music Lab utilizing a vintage pre-STS Serge Modular Synth system and was conceived as a pseudo aural "cubist" sound piece with an intention to achieve pseudo 3D "cubed" sound through discrete recording and mixing techniques. The only effects utilized were four or more analog delays being played real-time a la dub/reggae mixing techniques. The final selections were then sent to Kramer at Noise Miami for hi-fi correction and an aesthetic mastering treatment and then to Jeremy Bible for a final mastering treatment specifically for the vinyl format resulting in a sonically rich listening experience of hallucinatory synthesizer ragas.

7 months on from TP#4, Demdike return with the 5th instalment in their ongoing research and development series - a double-headed monster split between gnarly reductions on the A-side, and industrial strength edits on the flip. 'Procrastination' edges through Grimey detritus and gunshot snares within a vast open space perfectly primed for that Demdike slow build. 'Past Majesty' on the flip offers up a feral take on some kind of cyber-industrial insanity, somewhere between Ministry and Powell - with a denouement which should probably come with a public health warning attached to it. All we're saying is - watch yr eardrums

Having walked his own musical path for almost two decades, Sasu Ripatti's eponymous imprint has already
provided a platform for some of the most experimental and daring material of his career to date. Following
on from his debut release as Ripatti, and a complex riddim trip in collaboration with Max Loderbauer (NSI.,
Sun Electric, MvO Trio) as Heisenberg, Ripatti returns with his third release for the label, his first as Vladislav
Delay.
#5 on The A-side is complex and unforgiving, an intense percussive tangle that takes the dub essence of so
many classic Vladislav Delay productions and re-assembles them into a frazzled steppers-riddim at double
speed, sounding like a footwork variant of his signature dubs.
#22 on the flip opens with more immediately familiar Delay markers, a dub bassline lures you in before
once again re-configuring the template with a jittery percussive tangle that runs amok, with only a careful
alignment of snares keeping things from falling off the edge.

Limited Clear Vinyl Pressing!
Nuearth Kitchen christens its Nuearth Conservatory sister label with an exquisitely laid-back EP by the Stockholm, Sweden duo Tommy Awards. The four luxurious, untitled tracks on Sessions arose from a live jam the twosome recorded for Made Like A Tree's esteemed podcast series in early 2013. Tommy Awards have refined the raw materi- als from that excursion into a balmy aural journey into realms of spacious tranquility.
Track 1 enters earshot with an eerie, pointillist synth motif reminiscent of John Carpenter or Goblin and a creeping, stealthy rhythm, creating a tension between beauty and intrigue. This is something of a red herring, though, as the rest of the record is beatific enough to soundtrack your next deep-tissue massage. The crepuscular, slow-motion Balearic house of track 2 swells with gorgeous symphonic synths and is nudged onward by relaxing congas. The long coda exudes a profound sense of drifting on pacific waves. Track 3's laggard beats lope under a majestically drifting synth that ices over your goggles like those on Joy Division's 'The Eternal.' It's stunning. The 14-minute finale is ridiculously grand, a gilded sundown processional across the beach and into the sea, set to one of the most chilled house chugs ever. If you don't feel perfectly centered and content after Sessions, you may be beyond help.