Beats Vinyl New Releases - News

These six mossy drone compositions seem to reflect de Tapol's interest in 'climatic' music.
The Brussels-based Aymeric de Tapol is a prolific producer of audio across styles and mediums. His output is dizzyingly diverse - last year's Méridiens Tape was constructed from field recordings made in Senegal, Mali and Istanbul; 2012's Talking With A Dinosaur was a collection of volatile synth experiments; as one quarter of Zoho you'll find him sculpting visceral walls of noise at a show near you. With Winter Dance, however, he's found a sound that's perfectly at home on Vlek.These six mossy drone compositions seem to reflect de Tapol's interest in 'climatic' music: their ingredients are simple but there is a real sense of space and life to them, as if the producer has not created them so much as simply captured them in their natural habitat. Sounds blossom, proliferate and die away, their surfaces cracked and pitted with the everyday detritus of life; even the uncanniest moments have a strangely comforting warmth to them.

The fifth release on Violet Poison is a compilation of fresh artists working in the camp of experimental and extreme techno. First up is O/H, Ontario Hospital, the power electronics project from Canadian duo Richard Oddie, half of Orphx, and Dave Foster, better known as Teste/Huren, the legendary Probe/Plus8/Zhark producer. Here they provide with a powerful industrial track enhanced by distorted vocals and pounding low-end.Sunil Sharpe, already known for his productions on Blawan's label and on the Black Sun Records imprint, provides 'Ground Skull', a heavy production with sinister bells and delirious vocals, while Belgrade's Ontal continue the theme with a balanced combination of breakbeat Techno and ambient drones. CSA, the new ambient project of Berlin based producer Ascion, finishes the EP with 'Overture', a cacophonous, roiling, near-beatless number

Walrus Ghost's 'Uplifting Themes For The Naysayer' is essentially a conversation between organic sound and artificial design. Immersed in rich textures and the meticulous processing of analog instrumentation, the songs facilitate moments of exchange between tranquil subtleties and abrasive tensions. These intertwining moments come and go as the record plays out, but they follow us throughout, leaving us with a soundscape that exists in both beautiful harmony and eerie decay.

Late 2011 Russell Haswell recorded 10 tracks of intense, improvised modular synth sessions, for a planned 5" vinyl series
on DOWNWARDS. Chaos oscillators, rave hoovers, and other dynamic, complex waveforms and noise generation were utilised,
abused and sculpted into high resolution, style smashing experiments in sound generation.

The Death Of Rave's fifth turn presents a lesser-heard aspect of L.A.-based producer, Delroy Edwards. Whilst best known for making bangers steeped in raw Chicago Ghetto-House for L.I.E.S and his own L.A. Club Resource, Delroy's 'Teenage Tapes' LP yields eight trax built with a similarly stripped-down approach, yet with altogether different results owing more to Minimal Wave, Noise, EBM, and Black Metal. Half of the release documents reel-to-reel and guitar pedal experiments recorded to tape while Delroy was at Art College, which he's been saving for the right release. The other half stems from more recent sessions on his SH-101 and drum machine that didn't quite fit in with his pounding DJ tools. Those nascent, freeform Noise pieces range from intense, bilious drones to vicious, combustible little buggers nodding to classic Prurient and The Haters, whereas the improvised, rhythm-driven cuts bear comparison with Liasons Dangereuses' EBM blueprints, the motorik momentum of Wold, and the obscure early '90s tape experiments of Tuning Circuits. Committed to worn-out tape in one-take shots over a number of years, it's all testament to the spirit of febrile spontaneity and disciplined dexterity consistent to Delroy's art, an aesthetic acutely at odds with so much anodyne dance music and manicured noise.

Peter Frohmader alias Nekropolis is a german artist known for his distinct and very dark athmospheric electronic compositions as well as his extreme visual art-projects leading to many exhibitions, films, multimedia-events and collaborations in the field of art and music. In 1981, at age of 23, Peter released his first Lp ''Musik aus dem Schattenreich'' on his own label ''Nekropolis''. At same time he produced a series of 4 tapes called Nekropolis 81 Vol.1-4 which can be found on his comprehensive 2Lp-Release.

Klara Lewis' debut release presents an electronically charged reconstruction of organic sound matter. 10 tracks featuring a wide variety of sonic material which is subjected to Lewis' unique approach to the sonic landscape. Field recordings, small sounds, samples, ambient pot holes, repetition, and giddy disorientation are all tactics deployed by Lewis

Featuring the 4 best songs from the phenomenal debut "AMATEUR GIRLFRIENDSGO PROSKIRT AGENTS" CD! "SPORTS NOT HEAVY CRIME", "DOUBLETALK...","FUNNYBONES & CRAZYLEGS", & "MORE POWAH TO YA" all sound like some of thebest releases from early NINJA TUNES or MO'WAX! Nuff said! (BEATSERVICE US)

The Tenses is a duo comprised of Ju Suk Reet Meate and Jackie Oblivia, two veterans of the weirdo art collective that is known as the Los Angeles Free Music Society. They also form the core of legendary experimental juggernaut Smegma.

The LAFMS have been a singular force in DIY culture ever since the early seventies and encapsuled an endless string of projects and bands that married a sort of proto-punk with trashy guitars, avant-garde music, tape manipulations, free jazz, improv and absurd vocalizations into a hyper original and singular form of music. They're seen by many as the originators of noise music, and have been an immense influence on bands like Sun City Girls, Merzbow, Wolf Eyes, No Neck Blues Band, etc...

The Tenses is one of the latest vessels for Ju Suk and Jackie to explore the outer realms of sound and space. Compared to the mothership that is Smegma, it is a more compact and intimate project where turntables, tape collages, distorted surf guitar and coronet are used to create elaborate, haunted atmospheres.

After releases on Harbinger Sound and their own Pigface Records, The Tenses now add another chapter to their history with 'Howard', their new LP on Belgian imprint audioMER. 'Howard' is a mind expanding tour de force that scrambles spoken word deconstructions and spontaneous freak outs into a musical non-sequitur; a strange and disorienting trip.

Loops of voices from long lost instruction movies, shortwave radio dramas that get overrun with sirens, various non-instrumental sounds, and an bewildering stretch of Link Wray-like guitar riffs; 'Howard' is a record that oozes paranoia, the perfect soundtrack for making explosives in your basement.

Comes in a limited edition of 300 copies with artwork by Wouter Vandevoorde and design by Wouter Vanhaelemeesch and Jeroen Wille.

John Lacey is an important player in British electronic music and conceptual performance art; he was an early collaborator with Chris Carter, part of COUM Transmissions and collaborator with Chris & Cosey's CTI. Under the pseudonym John Gunni Busck, he was involved in co-devising a number of projects in the mid-1970s within the music and performance art collective COUM (formed around Genesis P-Orridge), acting as the group's technical director. Running concurrently to COUM was John's own group, Vacuum Productions. It was within Vacuum that John began to collaborate with Chris Carter, aiding each other in their live multimedia shows (Waveforms and The Missing Thinker), as well as creating soundtracks for John's films. It was John that introduced Chris to Genesis and Cosey Fanni Tutti and we all know what happened next...! Armed with his homebuilt synthesiser, tone generators and a delay unit he created the live soundtrack for the COUM Transmission 'Music for Stocking Top, Swing and Staircase'. The performance took place on the 1st October 1974 at the Gulbenkian Hall, Royal College of Art, London and lasted twelve hours. The recording was captured in less than ideal circumstances (a portable cassette deck) with little bits of tape warble, hiss and external sounds appearing in this abbreviated edition, in keeping with the spirit of COUM.The music itself creates an evocative atmosphere and is at times hauntingly beautiful, providing an alternate glimpse into the work of COUM.

Debut album from Andy Stott and Demdike Stare's Miles Whittaker, aka Millie & Andrea, who collaborated on an occasional series of 12inch releases of jungle, garage and techno hybrids between 2008 and 2010. Their debuts contiues this story...

Nino Pedone's Shapednoise project amalgamates his long time love of noise and industrial music against concurrent obsessions with rave, hardcore, hard techno and industrial. This interest in the hard stuff is explored in destructive detail on his debut on Opal Tapes. The album opens with the violent techno deconstruction of Witness Of A Heart Attack Death, an oddly syncopated gallop through hard layers of analog scree and earth breaking kicks. A despairing atmosphere dominates the remainder of the side with less percussive yet still deeply rhythmic tracks evocative of the power electronics of Slaughter Productions yet brought to be with the sensibility of a techno producer. Everything is darkened with sonic dirt and dismal vibes but remains nuanced, layered and highly dynamic. Mastered by Matt Colton in May 2013 and produced by Shapednoise in early 2013. TRACK LIST:

An album borne from a love of both pop and club music, made to evoke an adrenalised, hedonistic, as well as an emotional response.

Tokyo, Japan's Ena makes his debut for the Samurai Horo label with the 'Bacterium' EP. Now signed to Horo for a full album project later in 2014, this EP lays down the foundations for the unique experimental form Ena's music has developed into and has been refined for his Samurai Horo projects. Totally unlike anyone else operating in music today, his music is deceptively complex, focusing on transforming organic sounds into powerful motifs that haunt your consciousness. Limited marbled vinyl 12" only

Fontarrian's debut effort for Berlin-based label ANTIME offers a glimpse into a fragile yet eclectic spectrum consisting of loopy vocal bits, slowly unwinding washes of dream-like ambience, distinctively (s)tumbling almost jazzy percussions and an ever-present, blissful warmth. The latter emanates from and sucks you into what seems to be a world of its own. Like a lo-fi attempt at capturing momentary twists of the heart through 10 significantly diverse tracks - imperfect nonetheless - the album feels like a mixtape you've set out to record for someone special, but somehow never got around to.

Massively anticipated debut album from Ron Morelli, founder/boss of acclaimed Brooklyn label L.I.E.S. (Resident Advisor #1 Label Of The Year 2012, amongst many other accolades..)

'Spit' is the first in a trio of related releases from Morelli due on Hospital Productions in the coming months

The album features 8 electronic variants; from House and industrial tape experiments to saturated metallic beat tracks...

Mastered and Cut by Matt Colton at Alchemy

Limited White Vinyl Pressing!

Over the past year as Peder Mannerfelt has shed the skin of The Subliminal Kid, we've only had small samples to taste of his new brand of musical sorcery. 'Lines Describing Circles' changes
all of that. Ten tracks deep, this is not so much an album as it is a declaration. From the opening, harrowing crackle of 'Collapsion,' Mannerfelt's intent is to crush the listener into a perfect, metal cube.'Lines Describing Circles' displays the sound of a man fully in control of his machines. Throughout the album, though, there are respites: the title track settles into a hypnotic groove while a simple, infectious melody repeating into darkness, while 'In Place Of Once Was' has a melody lurking, too, but it's constantly overwhelmed by sub-bass nihilism. 'Gulo Gulo Caesitas' is the pinnacle of the firestorm: cacophonous beats pummel you into submission while feedback and seemingly endless layers of aural mayhem pour down like sonic acid rain.As the computerised voice repeats 'Barren' over and over on 'Evening Redness In The West' there is no horizon left to long for. Peder Mannerfelt's transformation complete, he is off to find new trails to blaze as the melancholic pads of 'Rotterdam Anagram' are obscured by distorted filth.

You may be familiar with the terrific spiritual jazz of this Alice
Coltrane protege, as revived by EM in Osaka — classics like Isophonic Boogie Woogie — and maybe even his stints with avant-garde jazzbos
Infinite Sound and NYC no-wavers The Offs (whose first record sported a Basquiat cover).
Quite different, utterly compelling chapters in the same story,
Hearsay I-Land presents RY's forays into mid-eighties, outsider synth- boogie: the 1984 four-track twelve I-Land, besides most of his 1987
LP Hearsay Evidence.
Ballo-Balla is an insouciant dance-floor stealth-attack suited to The Paradise Garage, with Risa Young intoning like a fitness instructor — come Madam — over a spacey 808, criss eighties cowbell, bass
sequencer, and weird effects; and Don't Ever Take Your Love Away is a kind of melancholic synth-wave Lovers Rock; whilst Roland himself
sings in a high-pitched, soulful voice over ruff analogue
programming, mesmerically entangling Jeff Phelps, Arthur Russell and Dam Funk.Another brand new label to watch out for in 2014 — Palto Flats.

Brilliant 2nd release on the Common Series.Kraut Rock, Industrial influences all over. Main track is a massive slap bass with trippy string sections. A truly epic track. Seriously cool 8 minute track on this small 200 copies edition release. Recommended

Limited Green Vinyl Prssing!
With only one release to her name so far, the excellent 'Orz' tape for the Reckno label, plus a regular show on NTS, the artist who may or not be a pseudonym for visual designer Jason Kerley returns here with her first release pressed to wax, a 30-minute odyssey that glides into the hardcore continuum and re-shapes various forms and formulations of electronic music along the way. 'sssssssss' is a 30 minute trip split into two continuous sides that run like a mixtape, coming to life on the frazzled low-end modulation 'Fingerbang', through the fractured, minimized UKG overhaul 'Swoon', the delicate, micrsocopic electronics of 'Sex Smell' and the growling mentasm Grime of 'No Liquid'. We can't think of many records we've had through our doors that borrow as much from the UK techno/Artificial Inteligence espoused by the likes of early 90's labels such as Likemind as they do from the frequency fuckery of Evol and Playstation engineered Grime and Garage - but Skyler manages it effortlessly. The standout moment of the album comes with 'Langwellig', conjuring the spirit of early rave with the barest ingredients, lost in a haze of ferric smoke that feeds into the next transition on this forever-shifting trip...

Limited Red Vinyl Pressing!

Following on from a couple of strong releases as part of his Lumisokea duo for Opal Tapes, Koenraad Ecker returns with his most intriguing release to date, the first Digitalis' release for 2014.Straddling the line between analog electronics, darkened ambience and slow Techno, Koenraad Ecker recalls the colossal drone-noise of Mika Vainio and the sharpened bass frequencies of oachim Nordwall, albeit shot-from-the-hip in a manner befitting his connection with Opal Tapes.Fourteen minute opener 'Oran' is a sprawling and resolute, spread across two parts that display Ecker's compositional chops through an impressive mix of blacked-out electronics and horrorfilled cello passages. Inside long, drawn out sequences, Ecker avoids repetition and beats down a tonal path where the structure of each piece is dynamic yet cohesive. Sparse beats end up in a death spiral, competing with Ecker's cello and bleak electronics that fill the empty spaces. Like the slow burn of a lit fuse, 'One-Eye' crawls through layers of decay before exploding midway through into incalculable chaos. Square waves blot out difficult melodies only to suddenly disappear like a corroded hallucination while white noise builds from short crackles into cavernous rhythms...

Colo provided their tracks with a certain layered and deep sound structure. Most tracks are created intuitively.

It almost came to the point that a new release on Ki didn't happen as Nick and Ben, the guys behind Colo, lost their
laptop in the heyday of the album production. Backups Unfortunately none! Their debut album was almost done: ten tracks with about 150 to 200 single audio tracks, many hours of fine detailed work just gone. But fortunately not the whole world is bad and the finder returned the laptop to the hands of
their owners and Colo's debut album by the name of - UR' got pressed on vinyl. The name - UR' is a word play and not a reminiscence to the legendary Detroit label Underground Resistance. The bands name and the title of the album form the word - colo-ur'.

Colo provided their tracks with a certain layered and deep sound structure. Most tracks are created intuitively.
It almost came to the point that a new release on Ki didn't happen as Nick and Ben, the guys behind Colo, lost their
laptop in the heyday of the album production. Backups Unfortunately none! Their debut album was almost done: ten tracks with about 150 to 200 single audio tracks, many hours of fine detailed work just gone. But fortunately not the whole world is bad and the finder returned the laptop to the hands of
their owners and Colo's debut album by the name of - UR' got pressed on vinyl. The name - UR' is a word play and not a reminiscence to the legendary Detroit label Underground Resistance. The bands name and the title of the album form the word - colo-ur'.

A hefty line-up of artists chose selected from the Det Stora Oväsendet LP to remix. Includes masterful reworkings from no less than TM404 (Andreas Tilliander, Kontra Music), Smell The Flesh (Skudge), Varg & Acronym (Northern Electronics), Karlovak (Mr. Tophat & Art Alfie) and Isorinne (D.A.R.F.D.H.S.).

Florida's intergalactic synth duo launches 8 tracks experimental electronic pop lost in time & space. Hyper-paced drum machines buzz under shimmering structure of synths & psychedelic harmonies. White vinyl.

Since we've released the album by Atiq & EnK 'Fear Of The Unknown' last year on 2x12inch we have been playing with the idea to do something special with the music. It became an entire new album which is called 'Embracing The Unknown' and we are releasing it in a special Digipack cd case and digitally online. The album contains 16 tracks (20 tracks Digitally) and will be released on the 24th of February through our distribution partner Triple Vision. Some artists which collaborated on this release are Roel Funcken (Funckarma), Dutch electronica favourite Julien Mier, Semiomime aka DJ Hidden, and Drum and bass extremists Sinister Souls just to name a few! Also Lowriders own EVS and fellow Rotterdam junglist Deformer delivered their vision on Atiq & EnK's album. Another great fact about one of the remixes is that Atiq remixed one of his own tracks 'Moonlit Tea Party' for this release which came out rather different than his former collaboration with EnK. And did you know that the album ended up on several 'Top albums of 2013' lists Such as the one for Igloomag All in all this release is a rather special collection of tracks and really adds something special to the already great album pushing the boundaries and taking the tracks into new unexplored dimensions of sonic realities.

While for many of us the Nintendo Gameboy evokes fond memories of endless hours with Bomberman,
Tetris or Legend Of Zelda for disrupt this ruff and tuff little buddy turns into a serious sound-killing tool.
Dub Matrix With Stereo Sound is the culmination of years spent refining the art of handheld gaming console-based riddim construction, using the LSDJ tracker cartridge and disrupt's beloved Gamebwoy - especially modded up for maximum bass weight. Featuring nine crisp cuts - each built strictly on the Gamebwoy before being dubbed out with disrupt's superbly pimped up Korg Monotron Delay and mixed to cassette - this mini LP is not a joke ting. Heavily road-tested on Europe's biggest soundsystems (used as interludes during disrupt's live sets), these dark and deadly riddims have been scientifically proven to mash up the dance. If you're a lover of extraterrestrial 8-bit dub, this may just be the holy grail. So don't fanny about, bag this one quick - because like all Jahtarian output, this pressing is strictly limited. Artwork by Fabrice Claude (Subactive Soundsystem).

Chilli Space 10 is a compilation of the freshest sub-alpine electronic music from Slovenia. After 12 years and 9 CD-only releases, the tenth installment has finally found its way onto vinyl! The double LP album contains stylistically diverse music from Slovenia's electronic music underground. The compilation features exclusive tracks by artists such as Ago Tela, Octex, iTurk, Electrosaurus and others. A must for lovers of deep dubbed-out electronic music!

Following their collaboration on the sold-out 10-inch "Nii hea" comes this four track EP from Ajukaja and miss Maria. Three of the tracks were recorded at the same time as "Nii hea" and the most recent one got milked out from those rainy Estonian/NYC skies last autumn. Careless and quirky house-pop with all the jazz they can blend inside it.

Includes Maria wandering around ghost-house, Ajukajas's and Maria's first attempt to cook vaudeville-disco, and "C U Again" which is so beautiful... we are making a big budget video for it.

Showcases acts who have performed at Something Cold over the years, + friends & allies. North America's minimal DIY synth explosion is represented by bands from East coast to West. LTD 200 repress.

Vinyl Re-Release des Amon Tobin-Klassikers "Permutation" aus dem Jahr 1998! Kommt als 2LP+MP3!

Salvatore Stallone is a DJ since 1974, forty years of experience in the best Clubs and idol in the "off parties" of Ibizan's circuit. In this work for Strictly Groove Records, he puts on pretty much all his artistic background and proves he has nothing to envy anyone. From the charming Deep House and a bit tropical (Voice From Juno) to a sort of Downtempo with the broken rhythm into fragments combined with jazzy inserts (Silvia 's Element II) via lightning Funk (Where Is My Island) and renewing interest in the 4/4 revived by the warmth of the percussion (Slight Tension). Stallone is one who likes to impress, and he succeeds in full with (Possibility Of Dialogue) from which emerge more clearly his talents as a composer, tied as much to jazz to funk. The same elements are intelligently reflected in (Night In Oslo) till it flows first into a beloved Disco, launched on a drawing that resembles Cerrone's Extended Mix (One Night In Rome With Herbie) and then in a sublime example of Future Jazz (The Travel). The "question" in the album's title certainly does not refer to the contents of the record: everything here seems exquisitely perfect.

Writer, musician and misanthrope Jaworzyn was a notorious and energetic presence in the UK underground of the 1980s and '90s. Following a brief stint in Whitehouse, in '86 he formed Skullflower with Matthew Bower and remained the band's guitarist for four years, playing on Birthdeath (1988), Form Destroyer (1989) and Xaman (1990), among others. In 1990 he established the Shock label, which, like the annual Shock Around The Clock film festival, grew out of Shock Xpress - the seminal, vigorously outspoken horror/exploitation zine edited by Jaworzyn for most of its lifespan. Shock Records was a resounding boot to the arse of the narrow-minded, welcoming artists as disparate as Lol Coxhill, Coil, Drunks With Guns, The Dead C and Ramleh into its fold. Jaworzyn rejoined Whitehouse in 1990-91, and around this time was also invited to participate in a roundtable discussion about serial killers on Channel 4's After Dark programme - it ended with him vehemently debating the meaning of the word 'integrity' with fellow guest Michael Winner. Despite having supposedly renounced the guitar, in '91 Jaworzyn returned to the instrument with some venom, forming Ascension (later Descension) with drummer Tony Irving; the band's turbulent brand of free music - documented on several substantial CD and LP releases - famously incited an audience riot when they supported Sonic Youth at Kentish Town Forum in '96. In the second half of the decade Jaworzyn retired the Shock label and largely withdrew from music, choosing to focus on drinking and cursing; although his The Texas Chain Saw Massacre Companion was published by Titan Books in 2003, and on occasion he emerged to play live (including the Whitehouse 'farewell' show in a duo with drummer Chris Corsano). Now, after seventeen years off the grid, Jaworzyn has reappeared. 2013 saw him reactivate Shock to issue two 12' EPs of emphatic new solo material, as well as Eaten Away By Shadows (a compilation of solo bedroom recordings from '82-'83) and the aforementioned Skullflower KINO CD series. Pre-dating the Eaten Away tracks, the driving, faintly sociopathic and supremely zoned pieces on Drained Of Connotation (BLACKEST027) were created in early/mid-'82 at Jaworzyn's then home in Cardiff using a Korg MS10 or 20 (on loan from musical collaborator Robert Lawrence) and his beloved Dr Rhythm drum machine. SJ: 'While a maniacal edge predominates, a couple of pieces seem surprisingly 'mellow', a concept infrequently associated with my subsequent endeavours and disposition.'

Optimo Trax is an offshoot label of Optimo Music for tracks aimed at DJs/dancefloors. Yes, we know there are too many record labels already, but we felt an overriding desire to start another one as so much music that didn't seem quite right for Optimo Music (i.e. music that was specifically designed for dancing) kept coming our way. Like the parent label, Optimo Trax will release music by new artists and excavate forgotten classics.

Long time friends and allies of JD Twitch, Milan's Barking Dogs run the fantastic Serendeepity record shop in the basement of which lies their analogue sonic laboratory (photo here) where they create live mutant funk masterpieces. Funk is an often mis-applied term but these tracks ooze it from every pore and you can literally hear the Dogs wrestling it out of their machines. Eccentric for sure but certified dancefloor winners for those bored to death with generic, lifeless, clinical dancefloor fodder.

Released almost exactly a year on from their debut 'Struck' EP, Liam Morley and Dan Valentine return with 'New Brutalism', an exploration of angular, brittle club music.
Referencing the stripped-down, utilitarian aesthetic of Brutalist architecture (a detail of Preston bus station features on the cover), the 5 tracks here mine looped, blocky source material gradually embellished with more complex percussive and atmospheric layers that are at once robust and introspective.
From the opening woodblock/rave dismantling 'UK WIll Not Survive' to the heady Hardcore of 'Three Day Jag', the EP evokes a distinctly Northern British Weltanschauung, a joyous revelling in melancholy that goes as far back as the earliest dances documented in Mark Leckey's 'Fiorucci Made Me Hardcore' - somehow unique to British nightlife.
The EP closes with the industrial clang of 'Run Out', the cacophony slowly converging into an alignment of percussion and space, trigerring that feeling of re-emerging into daylight at the end of a long night. Blinded by all the light... by all the possibilities.

180g Vinyl LP in 4 C Sleeve - beautiful reversed board paper with blackened spine.