Beats Vinyl New Releases - News

CD in a 4 pages digipack , beautiful reversed board paper with blackened spine.

RE-ENGINEERING is the bold new album from Heatsick, aka Berlin based British artist Steven Warwick. Well known for his epic multi-hour live club sets and acerbic wit, he characterises this collection of new material as a 'cybernetic poem' that both indulges us in the mores of hypnotic dance music while holding a critical, and at times satirical, lens toward the culture writ large.
The opening title track is symbolic of this balance, the crisp spoken word poetry communicating hypermodernity in crisis in a piece that equally evokes the masked humour of Chic and the biting surreality of Chris Morris. 'Modern life is still rubbish you
say. Modern rubbish is still life'. The tracks 'MIMOSA' and 'SPECULATIVE' play with a similar conflict, warping the themes
of modern luxury familiar to Malcolm McLaren's seminal 'Paris' album, and delivering rare vocal lines that convey distance and a degree of uneasiness. The masterful club tracks that constitute the bulk of this album feel all the more powerful and honest when framed in this hyper aware context, confirming the underlying inclusiveness in Warwick's music and perspective.
We dance together, we crash together

After a sustained period of enviable productivity, renowned producer Mark Fell arrives on Liberation Technologies to further carve out
his own singular vision of leftfield electronic music. After reviving the SND moniker with long-term collaborator Mat Steel in 2008, and
releasing a slew of singles under the Sensate Focus guise, it's here that the mind behind recent sound installation '64 Beautiful Phase
Violations' delivers his most visceral work yet, melding angular electronics and skittering rhythms into a sonic palette that is
undeniably his own. Treading an equally as distinctive path throughout their illustrious career, Japanese experimentalists Boredoms
contribute their own vision of 'Parts 1-7', an inspired pairing that's offered up in advance as a tantalising glimpse into the forthcoming
record.

The next release on Diagonal, the London-based label curated by Powell and Jaime Williams, will come from multidisciplinary artist and electronic noise veteran Russell Haswell. Provocative and abrasive, yet fascinated with the possibilities and physicality of electronic sound, Haswell has assembled a formidable body of work over two decades, taking in (among other things) digital noise recordings, experiments in immersive surround sound and an acclaimed series of collaborations with Florian Hecker.

Titled 37 Minute Workout, Haswell's album for Diagonal is the label's second full-length album release, following on from Death Comet Crew's recent Ghost Among The Crew. It's the latest instalment in an ongoing run of prolific and powerful form from Haswell, and follows on from his crushing live set at Diagonal's first London showcase last year. But it also marks a slight shift in his work. Although having long been inspired by Detroit techno pioneers like Jeff Mills and having DJ'd and curated many club events over the years, defined beats have rarely been a core feature in Haswell's tracks. Following last year's noise-wracked dancefloor collaboration with Regis as Concrete Fence, sections of 37 Minute Workout are overtly rhythm driven, in keeping with the label's 'club music' ethos — their strobing beats and interference suggesting techno torn to bloody shreds before being reassembled in chaotic new configurations.

The album's title, although in part a nod to Paul Morley once stating that the perfect album length was 37 minutes, also alludes to this strenuously physical nature. Opener 'Spring Break Extended' springs from the tracks in a salvo of rough-hewn breakbeats, peaking nastily in the red to bleach out your field of hearing. Paired tracks 'Unknown Harm' and 'Incalculable Harm' are all acute angles and jarring changes in direction; dragging your body violently back and forth, they repeatedly tease you with the momentary promise of a groove before gleefully ripping it away. And 'Alternate Ways To The Truth' suggests a strange, psychologically penetrative electro, its clusters of kicks seeming to emanate from deep inside your inner ear.
37 Minute Workout is among Haswell's most varied albums to date, finding him nodding — sometimes overtly, sometimes less so — towards the many influences that have worked their way into his music. The eerie 'Chaos Clapping' and its reprise, which bridge the record's two sides, are subtle homages to Steve Reich, while 'In Memorium Of Elph' is an ode to Coil and their 1990s explorations of digital glitch. He also cites the album as being informed by the work of contemporaries that have inspired him over the years, ranging from Skinny Puppy and Adrian Sherwood to Autechre, Aphex Twin and British extreme music pioneers Carcass and Napalm Death.

If the presence of these musical connections isn't necessarily overt within Haswell's work — as ever, 37 Minute Workout is rendered in his own distinctly caustic and intricate sonic language — what shines through is a shared uncompromising streak and a joy in being overwhelmed by sound. The album's second half trips into abstract and divergent territory: the splattery overloads of 'Scratchy' and 'Scratchy (Freeze Dub)', and 'Blast Beats' all staggered grinds and high pitched whine. Yet it ends, perhaps surprisingly, on an entirely more contemplative note. The two minute drone of 'Convalescence' brings 37 Minute Workout full circle, offering a brief moment of decompression to close an album whose broad range encapsulates many avenues of Haswell's work to date, and hints towards many more in future.

37 Minute Workout is released mid-February on both vinyl LP and digital download formats. The vinyl comes in a high gloss, spot-UV varnished sleeve with black and white inner — designed, as always, by Guy Featherstone.

Electric charges on Hantasive. Kaumwald lights up his dials and twists out five rolling generations to terrify and animate. Plying a line between glitch-like manifestation and cruder analogue sewage, these tracks are forged from degrees of digital and analogue that give a contemporary edge to the grotty greyscale industrial & proto-rhythm you might find whilst digging through the Vanity Records catalogue. Warm kicks and clipping digital synthesis is interlaced with acoustic sourcing and a curious, magnetic primacy - developing vital colour and tactility to these here wares. Think to those contemporary and necessary combinations of computer and combustion engine, but repurposed to a more Jean Tinguely-esque display of machinery for machineries-sake; built to chatter and clunk, to error, and essentially deteriorate. That quest for the perfect minimal weirdo beat re-cut for now.

The rich, dark sound of Lumisokea, the Belgian-Italian duo of Andrea Taeggi and Koenraad Ecker, annexes a dark, foreboding aura from an abundance of reference points  - codifying and making concrete the connections that which might otherwise have been elusive or intangible in the worlds of noise, dub, techno and musique concrète. Apophenia follows their Opal Tapes debut Contrapasso, and sees their sound continue to develop; growing in intensity and twisting into more complex, aggressive, and euphorically bent shapes. All seems abstract, not as 'whoa, that's weird', but as though every element exists in direct opposition with nature and organic order. Industrial and technoid beats are rolled over sub-sonic, hyper-digital abrasions of noise and synthetic texture to reinforce and fortify the more extreme end of Opal's sonic interests. Synthetic stomp and precise, premeditated glissandi form sonic sculptures where the unreal is turned towards something frighteningly palpable

Christian Marclay, DJ Rashad, LFO, Dilla, Luc Ferrari... Chorus is the new single from Holly Herndon, the inimitable artist and technologist responsible for 2012's acclaimed album, Movement. Another evolution in her production technique, Chorus bridges multiple disciplines and spaces to blur the politic between natural and synthetic. For 'Chorus', Herndon sampled her daily browsing experience, channeling YouTube, Skype and other audio sources across the web for data that freely forms atop a bumping beat. Much like online browsing, 'Chorus' creates a coherent/incoherent experience from disparate conceptual and contextual sources. 'Chorus' continues Herndon's emphasis on vocal processing, crafted with polyphonic passages from live vocal takes and re-synthesized instances of her own voice and those foraged and sampled. 'Chorus' may come as a stylistic deviation from Movement, but more accurately continues Herndon's practice outside of genre orthodoxy — a stratosphere where multiple styles and histories are experienced in her personal laptop space. In contrast to the laborious studio effort that went into the a-side, 'Solo Voice' was tracked in a single take. 'Solo Voice' takes a rhythmic, polyphonic vocal effect customized by Herndon and spreads it across a spectrum of song to sputter for a unsettling minimalist accomplishment. Chorus is a timely reminder ahead of Herndon's next album that her universe is one meticulously crafted with each creative and technological discovery.

We Can Elude Control presents the debut album from London based electronic musician Roberto Crippa. Reverse brings together a body of work that draws influence from the worlds of noise, electroacoustic composition and musique concrète, forming a powerful and ritualistic study of sonic structure and material. Within the sculptural engineering of silence, space and raw electronics, Crippa employs a variety of sources ranging from wood, metal, drum skin and amplified concrete, constructing an innovative narrative exploration of sonic depth and contrast.



The album reflects Crippa's work as one of London's key performers within the noise and improvised music scene, crafting a refined expansion of his full frequency live shows presented at the likes of Noise=Noise and Cafe Oto as well as Industria Superstudio in his native city of Milan. Reverse forms Crippa's landmark statement connecting the dots between his immersive gallery based installations and visceral performances, shedding light on one of London's most unique underground electronic artists.

Jar Moff returns with his second full length, 'Financial Glam', a follow up expanding on ideas first presented by the excellent 'Commercial Mouth' debut LP PAN released earlier this year.
Continuing with themes established on his previous 'Commercial Mouth' LP, 'Financial Glam' reflects the flux and tension of his home city, a gripping opus of grandiose crescendo and collapse,
broken rhythm and disquieting calm. These intricately composed collage works, constructed from hundreds of archived samples, provide a fitting and highly personal soundtrack to austerity in
the shadow of empire. The craft hints at a year's worth of meticulous assembly and industry; the
album title hints at a biting critique of the circus outside. The combination of Jar Moff's technique, ear and unique perspective on, and proximity to, one of the defining stories of our era makes this release a truly important work.A side 'Financial Glam' and builds with growing fanfare and unease, the malaise occasionally
tamed by sublime stabs of synth and rhythm.B side 'Kresentosiagona' (translation: 'Crescendo of the Jaw') is characterized by a complex rhythmic treatment of individual orchestral samples. The perpetual escalation of the instruments
begin to form a fragile and perilous platform over time, it's fragile movements and majesty ever close to the crash.

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.

PAN presents four vital concrète incursions by nether field traveller Luke Younger aka Helm, marking his first transmissions since the studio rituals that birthed his highly acclaimed
'Impossible Symmetry' and 'Silencer' releases. 'The Hollow Organ' toes a deliberate line in the mud between his previous transgressions and a chokingly dank realisation of his most untoward, paralytic sound. Poised as a dark interpreter
between the grotesque and the transcendent, he activates research gleaned from his petrifying live performances coupled with an increasingly squalid and visceral palette of anguished machine voices, sub-zero drones and bone-scraped rhythmic noise to divine unearthly space somewhere between semi-legal horror soundtrack and hyperstitious surreality. Its opening gambit, 'Carrier' is the most succinct and uncannily ambiguous; perilously close to Gas-like ambient pop but rescued from serenity by manic tape spool and excoriating, demonic vocal. The vortex of 'Analogues' proceeds, ploughed by stereo-twinned engines of churning tape loops to a pitch black, eschatalogical climax, and 'Spiteful Jester' feels like the unshakable onset of a panic attack, ratcheting the intensity with blank-eyed, stoic method. For ten minutes 'The Hollow Organ' drains last with an unnerving, quiet blood-letting of carmine iron drones evaporating ferric overtones whilst percussions clank in your blind spot behind the screen.

Kouhei Matsunaga's 'Dance Classics Vol.III' is the continuation of his ongoing development of his more dance oriented material, as seen from his sets with Sensational and also his other minimal
techno project NHK. Not feeling tied down to one genre, Matsunaga nestles in the PAN roster, and however that isn't to say that he is dance per se as witnessed from his recent collaborations with Conrad Schnitzler. The album focuses more on bass/base electronics, music for the dancefloor and/or altered state reflection. Having composed pieces for WDR based on Henry Chopin, Kouhei is equally at ease jamming with Sensational, whilst simultaneously executing a obsessively
numerical sequence of dance pieces that borders on Hanne Darboven-like compulsivity. Born in Osaka, Kouhei Matsunaga is a musician and an illustrator. He started drawing during
childhood under the influence of his grandfather. He grew up listening to hardcore- techno and hip hop, studied architecture and has been mainly making music since 1992. Under many different aliases (NHK, NHKyx, Internet Magic, Koyxen) he has released numerous albums on labels such as Skam Records, Wordsound, Raster Noton and his first ever album 'Upside Down' on Mille Plateaux in 1998. He has also collaborated with artists like Merzbow, Jungle Brothers' Sensational, Autechre's Sean Booth, Mika Vainio, Conrad Schnitzler, Anti Pop Consorium's High Priest, Rudolf Eb.er, Puppetmastaz crew, Asmus Tietchens, Ralf 'RLW' Wehowsky and so on. His own label Flying Swimming was founded in 2002 with the main purpose being to publish and curate events of experimental contemporary music and art.

4 noisy long triturations. A mood for experimentations melting electric and electronic. Sounds to drop in another dimension.

Hospital Productions return with their first release of the year, a heavy 30-minute session of layered drone and tormented, bass-heavy bombast from Max Gudmunson's Virile Games project, now available on vinyl for the first time after a sold-out micro edition of cassettes in 2013. Operating somewhere between his label-mate Lussuria's gothic ambience, the ear-bleaching concrète of Helm, and the more blown-out cinematic visions of Leyland Kirby, 'Wounded Laurel' oscillates between sublime and wretched with a gripping night-time narrative. Opener 'Death And Rebirth Of Adonis' sets the scene with a distant arrangement of what sounds like strings recorded straight to tape before the sodden expanse of rumbling bass and tangled percussion in 'Nailed To The Living Heart...' gives way to a metronomic series of heavy, rumbling bass-drops that recalls Pan Sonic at their heaviest - think of 1999's incredible 'Voima' for a
reference point. 'Firmament' allows some light in with a beautiful passage of wilting strings, before 'Steel Church' brings to mind the fragmented percussive treatments of recent material by Nate Young.

Freedom Street is Chris Coco's debut album on his new label, Melodica Recordings. It follows 2009's Feel Free Live Good which came out on Big Chill Records.
Freedom Street is a real place in south London. Freedom Street is an imaginary state of grace in the city, a feeling of belonging, a sense of letting go on a spectacularly hot summer's day. It's about living in London now, it's coloured by the music of the past. It's about feeling good, in a kind of melancholy way. It's about being laid back, but ready for action. It's about new ways of seeing old things, about a sense of wonder for familiar surroundings.

Ike Yard came into being as No Wave passed on, Industrial was in the air and 'proto techno' had yet to be coined. Propulsive, paranoid, aggressive electro minimalism, with as much attention paid to the mixing board and effects processors as to vocals, guitar and synth. At once starker and more fully-formed than virtually all other contemporaneous post-punk music. desire's 2012 edition represents the first ever vinyl reissue of this classic, prophetic album.

The line-up for the third remix EP includes a great deal of diverse music. It starts with Powell (Diagonal Records) doing a great beat-driven rework of Half A God. It has been mastered by Matt Colton @ Alchemy Mastering. The A side is closing with The KVB doing a post-punk rendition of Cherish 8. Cherish 8 is also remixed on the B side by Vessel of Tri Angle/ Young Echo fame. The last remix (of NCR) is signed by UK enigmatic industrial/dubstep Bandshell.

Ike Yard was originally a quartet comprising Michael Diekmann, Stuart Argabright, Kenneth Compton and Fred Szymanski. The group are active again after a 28 year hiatus, sans Szymanski; their most recent album is 2011's Nord and they are currently working on a final album.

This is a 12" vinyl release, limited to 500 copies. Grey vinyl, black inner-sleeve. Artwork by Stephen Americh, inspired by the Factory America design for Ike Yard...

Zex Model is the project (started in September 2012) of Paul Von Aphid, a young Russian musician who re-imagining and re-modeling the classic sound of 80's Wax Trax and Antler's bands, by adding a personal twist of his own experience living in urban dystopia.

After his debut EP "First Mutation" (released in May 2013 on digital only and soon to be reissued with bonus material on desire) his new release, the full-length LP "Mind Slaughter" is being released on desire in the Fall 2013. Work on "Mind Slaughter" took about 10 months in few home studios, with strong help of hallucinogen and herbal dopings, and constant re-watching of old 80's horror animes for sampling and personal hell as influence, to establish the new old sound of EBM dance paranoia... First pressing on grey vinyl - limited edition of 300 copies - 12"x12" insert - download coupon.

Recommended if you like Skinny Puppy, Ganzheit, à ;GRUMH..., The Klinik...

eMMplekz return server after 'IZOD Days' semi-
beguiled local sorting offices...'Your Crate Has
Changed' takes up that diarised baton & legs it to
Rymans for future remnants...take a dose of
plague-riddled Pepys, a demijohn of Ekoplekz's
masterly live voltage and siMMer...switch to
classic...BM/EZ....

A new Sex Tags Amfibia, who always manages to surprise us again. This time we're proud to present the first black metal record ever on Clone! Very slow, organ based, subtle and unorthodox black metal album by Engvaal from Moss Norway. Rooming its way through six songs, reduced but condensed in sound, En Utvilsom Makt's production and soundscapes draws from mid to late 60s experimental recording and mixing, aiming to create a visual space and room within the music. With a 1890's organ and a 45rpm 10'' LP Engvaal defies the obtention of conventional Black Metal. All records come with a sewed or screen printed patch.

Still dark outside and almost straight enough to walk home you leave and take to hostile streets. You can hear the music still in your head mixing with the echo of traffic and footsteps. Predators hover around you but you are protected by Geradio Tonkium and in 20 minutes you will be home. Keep moving.

Black vinyl in black inner sleeve with hand-numbered artwork inlay on transparent paper. Limited to 333 copies.

A collaborative effort between Marquis Cooper (Svengalisghost) and Lili Schulder (51717), this project was born in the winter of 2013.
What can best be described as non-stop electronic erotic cabaret, the duo played a series of improvised performances which served as a structural backbone prior to the recording of this album. Finished in merely two weeks, this 8 song double lp acts as a complete listening experience, engrossed in the down beat primitive electronics of the past whilst pushing further into the self-created anti-beat world of today. Pulsing tones, off beat drums, melancholic vocals, and overall dark vibes characterize, but do not solely define what it is to truly trust in pain. Mastered and cut by Matt Colton for maximum impact

MATT BERRY. Having recently completed a Christmas
special of The IT Crowd (Channel 4), his own series Toast
Of London (Channel 4) Matt Berry currently features in Vic
Reeves and Bob Mortimer's new series House Of Fools
(BBC) - which has seen Matt described as 'probably - the
funniest person on television right now.' by The Guardian.

Far from being content with just acting, Matt released two
critically-acclaimed records of idiosyncratic folklore pop 2011's
Witchazel and 2013's Kill The Wolf (an ablum descibed as
'equal parts serious, beautiful, English & charming' by Josh
Homme)

It's of little surprise that Matt's forever fertile mind has been
affecting his sleep. About a year ago, found himself suffering
from insomnia... but he turned the deprivation into a new
expressive outlet: Music For Insomniacs part IV.

Every note was recorded in solitary during the nights at his
flat. Cover art by Matt Berry. Available as a limited edtion 7'
500 only.

YSA return with another LP after a record for La Station Radar. Here Matthew Ford (also from Love Tan, Fatcums, etc) delivers us a dubbed out electronic synth wave work out. Cover art by LA visual and sound artist Suzy Poling.

Death Comet Crew returns into the middle of an African street taxi jam.Shimmering traffic moves slowly ahead, shadows replacing shadows across the asphalt. There is smoke in the sky and in the street.Basslines pulse and weave through the jam.(Waves of heat through crack in window seen through infrared heat-vision from overhead.)Running down the left field of view, chrome flickers in slo-mo.License numbers crawl.A persistent scratching takes hold of the car's horn, indicators on perpetual loop. Through the haze, lightning... Galacticoast Mosi. Up the well, the half dark space station hangs in lower orbit. Hybridized chimes ricochet past the main hall's shuttered shop fronts.Ricochets turn to echoes, like misplaced dimensions.7-4-3-1. The call and response of radio comms.Acrophonics re-interpreted by a hieroglyphic being. Re-membered trajectories.Re-entry.


Death Comet Crew history: 1984 — started as Arena Sex Death, then Death Star Crew, ultimately Death Comet Crew. Went on to record 'Exterior Street' and 'At the Marble Bar' for the Beggars Banquet EP. The group was joined by MC The Rammellzee.2003 — Death Comet Crew reissued DCC America on Troubleman.2005 — group reforms and begins playing out again: Venice Bienalle, Serralves Foundation Porto, Berlin, The Worm Rotterdam, Ghent, Toulouse, Tokyo Club Unit, Osaka, CMJ.2013 — EP of new material on Citinite, followed by an album on Diagonal Records.

Members:Stuart Argabright — also in Ike Yard and Black RainMichael Diekmann — also in Ike YardShinichi Shimokawa — also in Black RainDJ High Priest aka Nick Taylor — from Gray (the band which included Michael Holman and Jean-Michel Basquiat)

One-Sided, stamped 12" pressed on Clear Vinyl

Earlier on this year Andy Stott found himself playing on the same bill as New York 'Heavy Metal hoarders' Batillus. Despite operating in completely different spheres, Batillus had been playing 'Luxury Problems', Stott's most recent album, on their tourbus and suggested a remix.
The result is pressed up on this one-sided 12', a deadly reduction that pitches the original down into the abyss,...
Andy Stott will be back in 2014 with new material.

Kondaktor, the Athenian producer who made his debut last year at Further Records, releases music for the sixth Modal Analysis record. Signal EP includes two original tracks Signal #1 and Signal #2 which were created through the manipulation of field recordings, that are structured as a collage of sounds delivering a deep and claustrophobic sensation. On the other side of the record, Sawf and ANFS construct two versions of the tracks taking a more industrial and rhythmic approach to the existing works.

Ron Morelli returns to stare down the 'floor with four pieces written during the stress-busting
sessions for 'Spit'.
The muggy, droning welt of 'Public Consumption' kicks off with the sound of New York techno shot
from the hip, while 'Another Hit' vents a vintage era-Regis style built on skull-chipping snares and
effluent acid modulation.
The album's writhing batacuda banger, 'Crack Microbes' reappears here as an extra-ferric extended
Version, sustaining the hypnotic intensity for nine minutes of panic attack acid and febrile
cowbells, while ''Rushing Again' escorts us to a close with triplet techno shook down by railgun
snares and a grotty synthline.

fresly repressed! Seit 2009 treffen sich die drei Lärmer Keiji Haino, Jim O'Rourke und Oren Ambarchi immer um die Jahreswende herum im 'SuperDeluxe' in Tokyo, improvisieren zusammen recht Gigantisches und veröffentlichen Auszüge davon dann ein knappes Jahr später auf aufs Schönste von Stephen O'Malley coverdesignten Alben. 'now while it's still warm let us pour in all the mystery' ist der mittlerweile vierte Streich des Power Trios, diese Mal vom Januar 2012.
Erhältlich als '6 panel digipak CD' und als limited edition LP!

West coast producer and sound system murderer Eprom is back on Rwina for a second album, Halflife which continues the producer's mad scientist approach to what makes a dancefloor move: synthetizing the warmth of vintage computer sounds, the energy of African rhythmic traditions (including modern evolutions such as Kwaito and Shangaan Electro), the swagger of southern rap and the intricacy of pioneering electronic music from the likes of Richard Devine or Curtis Roads. The result is a heady melting pot, a unique sound that has some of the best DJs in the world - Gaslamp Killer, Kutmah, D-Styles - and the crowds always wanting more. Wasting no time, Eprom opens the album with a volley of tracks built to blow up sound systems and take heads off in the dance. Center of the Sun, Beasts of Babylon and Hurricane all display the sheer brilliance of Eprom's mad scientist streak: a minimalist blend of low slung rhythmic alchemy, ten ton heavy bass and dark melodies more powerful than the soulless, over-the-top showboating that characterises much of today's dance music. On the bouncy Vogel he revisits some of the melodic elements from the first album while Super FX and Lost Levels come across like 2013 dancefloor versions of a Final Fantasy soundtrack, introducing a focus on brighter melodies and variations. Screwface opens the second half of the album with more in-your-face brilliance as drums pound the bass bins into submission before Machine Skin rolls in with its hypnotic arpeggio to lead dancers around like a demented Pied Piper. Pentatonic Dust then provides a brief and blurry interlude before another trio of short tracks - Moisture, Turtle Ride and Subroc - deliver a perfect blend of what's come before: mesmerising melodies, energetic rhythms and chest-pounding sub frequencies. The album closes with Cloud Leanmixx bringing the journey to an end by stripping back some of the energy and enveloping the listener in a warm blanket of synths and rolling drums. Listen: http://snd.sc/14yuKgX

Written and Produced by Alek Stark. Madrid 2012
Published by Titan´s Halo.
Mastered by Alek Stark at Fundamental Audio.
Intelligent Vector Object by Plástica.
Design by Alek Stark.

Several years ago, Valentin Stip was sitting alone by a harbor in the small French town where his parents grew up. 'I heard all the sailing strings hit the masts, and I realized that every sound you hear is potentially music,' he says. 'The only thing that makes sound into music is the mind, arranging it.' Since then, Valentin Stip has been building a bridge between the sounds that live inside and outside his head. On Sigh, the 21-year-old producer's full-length debut on Other People, Stip organizes classical piano, lightly sputtering grooves and intimate found sounds into an album of compositional grace and emotional honesty. Valentin Stip emigrated to New York City in middle school and immediately fell in with a creative crowd-including then-fledgling producer and future Other People label head Nicolas Jaar. Upon learning the ins and outs of electronic production, Stip discovered a new, more personal way of interpreting the darkly shaded piano music he'd been writing. He soon released a string of melancholy, beat-based EPs on Nicolas Jaar's Clown & Sunset label, Anytime Will Do (2011) and Angst (2013), and toured alongside Jaar, all while he was still in college. With eight songs clocking in at nearly an hour and sequenced as a continuous piece of music, Valentin Stip's Sigh charts a winding path through its creator's psyche. As Sigh unfolds, sounds become as tactile as objects: overcast electronic atmospheres rumble and swirl, minimalist piano melodies chime in the distance, and subtle programming percolates like ripples on the surface of a lake.

To showcase the exciting releases Young Turks have had throughout 2013, the label are set to release a series of uniquely artworked limited edition 12"s. Each vinyl will feature 2 tracks by artists affiliated with the label in 2013. The third of these will be the release of a track by Short Stories split with a track from Pional's 'Invisible/Amenaza' EP. Young Turks was established in London in 2007 and has released records by SBTRKT, Chairlift, Holy Fuck, Sampha, The xx and many more

Chris Douglas' story reads like a lesson in the development of outsider electronic music over the
past 20 years. He began throwing the first ambient techno parties in San Francisco at just 16 years
old, and moved to Detroit a year later to begin working with Mike Banks (Underground Resistance)
and James Stinson (Drexciya).
He relocated to Berlin in the early 2000's after being invited to support Autechre on their Confield
tour (and perform at the now legendary Autechre-curated ATP Festival) and has since steadily
released challenging and intense records as Dalglish, O.S.T., Scald Rougish and Seaes, all the while
maintaining an elusive personal profile. He has also worked extensively in film music as having
recently composed the soundtrack for Anna Eborn's latest film 'Pine Ridge', which just had its
world premiere at the 70th Venice Biennale. Furthermore he is a founding member of audiovisual
collective SYNKEN featuring members of Transforma.
His PAN debut, dedicated to his friend, the sadly deceased musician and Isolate Records founder
Wai Cheng (Optic), is a complex and cavernous exercise in texture and rhythm, marrying the
freedom and tonal breadth of electro-acoustic composition with percussive patterns disjointed to
the point of collapse.
It is easy to see how his work is often critically received as emotionally challenging. There is a
closeness to these compositions, and his muscular, full spectrum passages are often counteracted
with brittle and delicate detail. Unhinged and unrestrained, you will be hard pressed to find a
single loop throughout the entire album with each of the compositions mutated through a vividly
reverberating, clangorous landscapes.

We kick off in fine style with the first official full length album from Vatican Shadow (aka Dominick Fernow from Prurient/Cold Cave) after over a dozen cassette and vinyl only releases and reissues, and the first to be released on 12" format.


- Includes additional production assistance from Juan Mendez (Silent Servant)
- Vatican Shadow is currently touring in Europe including shows at Sonar,Fabric, Richie Hawtin's 'Enter' Ibiza, Roskilde Festival, Berlin Atonal and more
- Vatican Shadow was featured on the recent Sandwell District mix CD forFabric
- Fernow's other alias Prurient will be touring the USA in October as main support for Godflesh
- 'When You Are Crawling' - An EP of additional material and extended mixes will be available later in the year

*'Remember Your Black Day' is the debut album proper from Vatican Shadow, the first material conceived and produced as a full length by Dominick Fernow for the project following almost a dozen tapes (mostly released on Hospital Productions) and vinyl editions (released by the likes of Blackest Ever Black, Modern Love and Type) over the last three years. None of the 8 tracks included have been released before on any other format.
*At a time when the scene is saturated with 'Noise Techno' the album is almost celebratory by contrast, balancing caustic licks of distortion and oppressive bass with cleanly mixed synth tones and ricocheting claps in a shell-shocked, surreal soundsphere.*WIth production assistance from Juan Mendez (Silent Servant), the album includes the most direct and propulsive Vatican Shadow material yet, continuing an evolutionary shift awayfrom the complex, collage-based narrative of those cassette releases into more visibly direct contact with the listener. There is a functional connection to dance music here, honing in on the human element embedded within a subject matter so fraught with inhumanity.