Beats Vinyl New Releases - News

Apt E returns with a pair of lengthy kraut transmissions from Seattle-based electronic outfit, Tape.

A - Escape Your Shape wades through swampy guitars and modulated jitters before entering a boundless collage of stretchy, acid-bound funk wahs and spacy rhythms launched toward the horizon. Along the way, shifting shapes, dancing chords and washed out motifs swirl around until they’re released into the ether, only to elegantly reenter orbit before dematerializing once more. The jam rebounds one final time, wringing out the final traces of euphoria, landing gently after the nearly 12 minute long trip.

B - Flip Your Trip hits the ground running; relentless drums take off in tandem with deep analog modulations as higher frequencies slowly creep onto the canvas. Frenzied electronics emerge from underneath blankets of delay while sweeping atmospherics expand and contract with the heavy tides of guitar and droning bass. The vortex erodes to a sticky whirl before drifting back to the surface, entering and exiting a mosaic of cosmic passages until finally being abducted by an arpeggio vacuum and fully melting down after 14 flipped-out minutes.

Khaliphonic 15 is the first full length release from Japanese experimental dub duo Undefined. Well-established as a live act since 2014, and releasing on their own Newdubhall label as well as ZamZam Sounds since 2017, it’s well-past time that their expansive and immersive sound be allowed to span the length of an LP, and this set is nothing short of a triumph.

The powerhouse duo of keyboardist/programmer Sahara (formerly of Heavymanners) and drummer Ohkuma (formerly of Soul Dimension) create an absolutely unique form of dubwise firmly grounded and rooted in rockstone reggae principles, while focusing intently on expansive spaces, subtle inflections, and exploratory minimalism and abstraction - deep dives into the heart of rootical riddim and space. Luminary vocalists Paul St. Hilaire, Rider Shafique, and Ras Dasher were invited on the journey, and the resulting set is absolutely timeless, a crowning achievement in the rich history of reggae, dub, and dub techno in Japan, and the world.

With “Defined Riddim” the two-man band has created something ruff & rugged while somehow delicate and utterly elegant throughout. Undefined honors the roots while taking them in an deeply personal, unconventional and unique direction unburdened by cliches, follow-fashion or any other concerns beyond creating an honest music - dub from the heart. Words fail when trying to describe the richly saturated color and tones of Sahara’s keys & bass; Ohkuma’s drumming is muscular, lithe, incredibly tight & subtle. The two together are nothing short of a force, a single spirit of riddim moving through two individuals with a fully-unified vision, the vision magnified by E-Mura’s (Bim One Production) masterfully restrained mix.

It’s an absolute honor to release this album in physical form, including a bonus 7” featuring the heartfelt vocals of Ras Dasher, who passed away suddenly before he could celebrate the release with us. Undefined and Khaliphonic/ZamZam Sounds dedicate this set to him, and to dearly-departed Naoki E-Jima, whose Disc Shop Zero was the heart of the scene in Japan until he left this plane in 2020. Naoki was also an early, enthusiastic, and steadfast supporter of ZamZam Sounds & Khaliphonic, and we are forever grateful to him and his family for the love they showed us and so many others.

repressed !

Strange anomalies are scattered throughout the world. Things that could not possibly belong to the time period or place in which they were found. These so called out of place artifacts baffle historians & archaeologists up until today and have inspired producers Vril & Rødhåd to write a collaborative concept album.

As a result the two producers got together in the studio with the idea to subvert the expectations of their previous work. They experimented over two sessions in 2018 and 2019, resulting in a record showcasing a different palette of sounds and tempo.
The album is suited for deep listening and exploring aforementioned concepts or introspection in general. A mystic tone is set from the start, and grips the listener throughout the whole run time. Each track encapsulates this notion in its own unique form, blending sonic ambience and complex beats that reaches spectral heights.
Both producer's styles shine individually, but the collaboration achieves something greater than the sum of its parts.

Written over 3 months during Autumn 2020.
For Maisie.

"October Language" is the debut album by New Orleans based duo Belong, comprised of Turk Dietrich and Mike Jones.

Since it's release in early 2006, Belongs debut masterpiece has accumulated a dedicated cult following, with comparisons to the work of Tim Hecker and Gas, with some claims that it plays like My Bloody Valentine's "Loveless" sans the songs. While these comparisons are useful for filing this album into a particular bin in the record shop, time has proven that "October Language" is a unique album which remains unmatched by its contemporaries.

Despite the warm and welcome accolades of the albums arrival, there was no vinyl pressing until 2009, of which a limited one-time pressing vanished immediately. Spectrum Spools is pleased to present a pristine vinyl cut to go with reimagined album art for the definitive edition of this legendary classic.

Physical copies include a download card with extra tracks from the impossibly rare Tour EP from the same era. These tracks are exclusive to the vinyl purchase and are not available through digital outlets.

Fractal head rearrangement from Keith Fullerton Whitman on his first vinyl release in what feels like years, here blessing Japan’s NAKID label with a new instalment in his forever-evolving Generators project, arcing from bleeping post-Kosmische sounds into completely unexpected drum mutations in footwork and grime modes. It’s properly head melting gear that links the algorithmic mind-fukkery of Laurie Spiegel with the floor-bending rhythmic experimentation of Mark Fell, Rian Treanor or Jana Rush, and the first in a three part series that offers some of the strongest gear we’ve heard from one of the very best in the game.

Modular synth scientist, critic and historian Keith Fullerton Whitman first debuted his »Generators« set in 2009, using a modular setup to create non-repeating melodic patterns that basically came close to generating themselves. Over the course of hundreds of live shows (and a handful of releases on Root Strata, Editions Mego and other labels), Whitman glacially honed his process and allowed the concept to slither down different avenues, mutating as it picked energy from the various venues it was situated in. His rigorous method meant ‘Generators’ was never played out the same way twice, veering from psychedelic Kosmische experimentation to obliterated, off-grid Techno.

In 2019, on the tenth anniversary of the project, Whitman was invited by the GRM in Paris to set up in Studio C, where he avoided the arsenal of pristine, museum-worthy modular synthesizers and instead reprogrammed his classic ‘Generators’ patch. Recorded in a single take using luxe analog- to-digital convertors, the result is a 45-minute durational piece, split into two distinct sides for this release.“Very little manual interaction happened,” Whitman explains. The music is, as its title suggests, generative, and at this point basically sounds as if it reached its most advanced, final form. The first few minutes of the opening side mine the original theme, with clocked LFO shapes triggering oscillator blips in mind-expanding non-looping patterns. Soon, percussion enters the matrix, at first wrong-footing us with a 4/4 fake-out - possibly nodding to the piece’s 2010 Root Strata iteration - before splitting into staccato polyrhythmic abstractions of the most loose- limbed and deadly variety.

General MIDI drums can sound almost hilariously boxed-in, but handled by Whitman they show off a plastic cultural sheen to piercing effect, deployed in a way that re-draws the rhythmic bass music of someone like Jlin while nodding to Mark Fell and Rian Treanor’s quasi-generative dance explorations. These comparisons take on even more weight on the second side, where Whitman opens up his filters to allow the synth bleeps to sing even more loudly, introducing that all- important clap/hat interplay that dialogues with Atlanta and Chicago simultaneously.

Recorded back in 1999, 'Half a Dove in New York, Half a Dove in Buenos Aires' is the recorded debut of a NetCast improv between deep listening pioneer Pauline Oliveros and Argentinian free music trio Reynols >> a fascinating early example of the internet’s capacity to foster remote creativity in-the-moment that deploys the slowest electronics, accordion, voice, trombone and computer sounds on a next level ritual drone incantation recorded in another era, but made for our time.

As the story goes, Oliveros first met Reynols in the mid ‘90s at a Deep Listening workshop she held in their home city, Buenos Aires, where they impressed her with an improvised brass serenade. Years later, in 1999, they met again via NetCast - a series of very early online live improvisations - to explore the Internet’s potential for collaborations between artists thousands of miles apart. Finally mixed down in 2021 and mastered by Helge Sten (aka Deathprod) after marinating in the archive for 22 years, the album resonates with the late, great Oliveros’ legendary work in exploring alternate tunings, spatial dynamics and methods of intuitive performance - a remarkable slab of omnidirectional drone bearing traces of Miguel Tomasin's vox and Oliveros’ just-intoned accordion embedded in its cosmic roil.

Broadcasting from fabled record shop The Thing in NYC, with Oliveros (Accordion) joined by Jennifer McCoy (ICR), Kevin McCoy (Computer processing), and Monique Buzzarté (Trombone), and Reynols revolving Miguel Tomasin (Electronics, subliminal voice & Alclorse drums), Rob Conlazo electronics, leather gloves & e-gtr), and Anla Courtis (electronics, rubber foot & e-gtr) and dialling-in from Florida 943 in Buenos Aires, the results are an incredibly absorbing and consistently surprising testament to vanguard, experimental spirits prizing the internet’s nascent, unprecedented ability to connect minds and art across continents, language barriers, and modalities.

The album's first side, titled 'Micro Macro Wind Dance', puts Oliveros' accordion under a microscope, enhancing it with lower case rumble and noise from Reynolds' arsenal. Shifting glacially over 22-minutes, Oliveros plays subtly and slowly at first, letting the accordion breathe in-and-out like a sleeping mythical beast, before she transitions to fluttering bird-like phrases by the end of the side.

'Astral Netcast Pigeon' expands the dissonant drones to widescreen, submerging Oliveros' trills and drones beneath layers of dirt and grit. It's time-altering music that dissasembles yr head before you've completely worked out what's happening >> basically the perfect mid-point between Oliveros' deep listening practices and Reynols' wildly inspirational free-noise-drone freakouts.

THEME reshapes Arp Frique & Mariseya with their third release
THEME drives us further into their experimental/electronic mission with their third release, a remix of Arp Frique & Mariseya’s "Nyame Ye". Pulling its soulful vocal into a looping playground of crafted grubby synths that fill all the right spaces, it dials down the tempo effortlessly whilst leaving just enough feeling from the original in its wake, THEME slowly sucks you deep into this downtempo gem

Always hot on the steel-hard plates and murky subterranean atmospheres, Public System turns in a haunted double package from the crypt. Spanning hi-octane indus bullets, half-baked mutant salvos and shadow-clad juicers from a host of reputed names and rabid underdogs, this new comp collates ruff’n’tuff joints from gritty techno don Container, genre-unbound explorer E-Saggila, Berlin’s electro arsonist Privacy, acid-spitting hydra DJ Loser x Penelopes Fiance, basement guerillero Yabboq Penuel alias Le Syndicat Electronique, neo-punk beat thrasher Crave, Yves Tumor collaborator and sine-wave crusher Anthem, expert circuit dissector Beau Wanzer, Liquid G as remixed by Mick Wills, Night Gaunt’s Lower Tar, occult machine funk preacher Maenad Veyl, DJ Chupacabras under new guise 110, soundwaves cross-pollinator DJ Richard, vibrant mood-scapist Gavil�n Rayna Russom, as well as label boss Myn going ubiquitous with studio fellows Kluentah as Myntha, and R Gamble as Fade Accompli. A much desirable feast of raw, unhinged, all-round spine-tingling jams for the club and not.

Fragments repräsentiert eine Einladung an elektronische Künstler, traditionelle und moderne Musik zu kombinieren. Regelmäßig wird Fragments von einem neuen Komponisten inspiriert werden. Hieraus entsteht eine Serie von Alben, welche eine Bandbreite elektronischer Künstler dazu einlädt, einen ganz neuen Blickwinkel auf die Werke eines renommierten Komponisten zu werfen.

Fragments ist ein Projekt, das zwischen Welten schwingt. Zwischen klassischer und elektronischer Musik - zwischen alt und neu.
Beginnen wird die Serie mit Erik Satie: dem französischen Pionier der ‚Minimal Music‘, ein spitzfindiger Künstler, beliebt im Pariser Nachtleben seiner Zeit, ein Ambient Komponist avant la lettre, wiederentdeckt von einer Generation 100 Jahre nach seiner Lebzeit.
Beim Suchen und Finden der kollaborierenden Künstler, wurde das Projekt Fragments mit einstimmigem

Enthusiasmus empfangen. Das Resultat ist eine Kollektion großartiger Remixe & Reworks, welche monatlich zwischen August 2021 und Mai 2022 erscheinen.

A terrifically intense soundtrack' SIGHT&SOUND, UK

Bartell's score is expertly judged - an echo chamber of horror for the film to resonate inside. I urge you to catch the film with this score whenever you can.' Pamela Hutchinson, THE GUARDIAN

An extraordinary soundtrack for an extraordinary movie, Guy Bartell's sound score for Arsenal plugs the viewer directly into the nervous system of this shattering film.' John Sweeney

Bartell is one of electronica's staunchest and most singular foot-soldiers' THE WIRE

ARSENAL is a newly commissioned soundtrack for the 1928 film by Oleksandr Dovzhenko and is released to mark the 100-year anniversary of the Kiev Uprising, depicted in the infamous silent film. The soundtrack was commissioned by the Oleksandr Dovzhenko National Centre in Kiev, Ukraine to accompany the recently restored print, and supported by the British Council.

Bronnt Industries Kapital is based around British composer Guy Bartell, who works in the fields of film soundtrack, electronic music and sound art. He has recorded soundtracks for Tartan Films and the British Film Institute amongst others, including contemporary scores for the cult Swedish silent film Ha¨xan and the Soviet propaganda film Turksib.

When arranging the soundtrack, Bartell used a broad range of sound sources, from regular instruments such as strings, guitar, drums, to sounds produced using extended techniques, including prepared piano, bowed piano, bowed and resonated metal sheets, and the use of materiel items such as large shell casings as bells and spent bullet casings as rudimentary flutes. Bartell looked to convey that very metallic sense of 20th Century warfare, which also resonates with the setting of large parts of the film in the 'arsenal' of the film's title. The use of Foley sound effects also embed the music within the fabric of Dovzhenko's memorable motion picture. Additionally, the score features the sound of the bandura, a very special, traditional, multi-stringed Ukranian instrument.

Bronnt Industries Kapital will be performing Arsenal in a series of venues across the UK in January/February 2018.

28th September 2015. The night of the super blood moon.

Imagining that he would be watching with a number of like-minded moon gazers, Atki2 left the house and instead found himself alone, observing this extraordinary celestial event. Just Atki2 and the moon, bloody, huge and pulsing. This is where the story of ​Requiem​ begins.​

Around the time of this spectacular lunar phenomenon, another cataclysmic event was unfolding, Atki2’s mother had been diagnosed with terminal cancer.

Two years after she died, he began to write something in memory of his mother. Searching for a beginning, Atki2 remembered his special audience with the super blood moon, and its place in the story. In the end, it became the sixth movement of ​Requiem​.

Requiem​ is a single piece, divided into movements. With traditions of the requiem mass in mind, and sections that correspond to the liturgical texts; a classic form provides a useful starting point for writing about something as messy as bereavement; a set of rules, which can be followed or broken.

“GRM veteran Beatriz Ferreyra is carrying Pierre Schaeffer’s utopian musique concrète into the future... Ferreyra manages to occupy an idiosyncratic position where she almost stands alone. Her pieces are possessed by an almost phantasmagoric intensity.” - The WIRE

Beatriz Ferreyra has been at the forefront of electroacoustic music composition since 1963 when she joined the Groupe de Recherches Musicales as one of Pierre Schaeffer’s research assistants. She is one of very few composers still performing who was instrumental at the beginning of Schaeffer’s theories of sound objects and reduced listening techniques. She has composed commissioned works and performed around the world for some sixty years.

From 1965 until 1997 Beatriz composed tape pieces for multi-speaker performance using three or four Revox reel-to-reel tape machines at each concert. She now works on Pro Tools with GRM plug-ins but still uses the Revoxes for certain tape techniques that can’t be achieved with computer software. Beatriz discusses her music in the Schaefferian way, as a series of impulsions (sharp attacks), iteratives (repetitions), percutés (percussive hits), and trames (sustains) whilst also using her own onomatopoeic descriptions such as ‘schkllang, prrrrwip, ferrrwisssssh, takatak’ communicating sounds freely and directly as she hears them.

Her music is about movement; the movement of sounds around a performance space, or the positioning of sounds as point sources within the illusory stereo field between loudspeakers. It is also about movement within individual sounds, where each one is a composition of different shifting components and a ‘little structure’ in its own right, with its own character. She likens her sounds to a set of wooden dolls: inside each is another one, which contains another, and so on.

These three signature pieces use snippets of speech which are gradually deconstructed to create abstract textures, interweaving vocals with percussive and sustained noises. La ba-balle du chien-chien à la me-mère (2001) is a playful take on the way that we speak in a childlike way to pets. A brief narrative at the start invites the listener into this ‘pet speak’ scene, with the sound of footsteps and chatter. These gradually crescendo and morph into a cacophonous swirling explosion. Deux Dents Dehors (2007) is a pun on Bernard Parmegiani’s piece Dedans Dehors (1977), composed for his birthday. It takes snippets of lively vernacular and processes these into complex patterns of unintelligible and unrecognisable speech sounds, in sustained or percussive sequences. Heullas Entreveradas (Intertwined footprints) (2018) is a new commission that transforms vocal sounds into choral textures which fragment, granulate and transform into continuous whorls and tidal washes interspersed with her trademark short silences.

Persistence of Sound presents a split LP from two leading voices in electroacoustic music. It would be hard to find a better-suited combination of contemporary acousmatica on one record. 

Beatriz Ferreyra and Natasha Barrett are known for their intense exploration of the movement of sounds through space. Ferreyra has been at the cutting edge of developments in acousmatic music and sound morphology since she joined Pierre Schaeffer’s small team of researchers in his tape experiments at the GRM Paris studios in 1963. Barrett has established an international reputation as a composer of 3D audio and ambisonics.

Following her 2019 album, Huellas Entreveradas, Beatriz Ferreyra returns with her major new work, Souvenirs Cachés (2020), a free journey through a distinctive mix of Ferreyran sounds, a carousel of disembodied vocal sounds, growls and susurrations, sprinkled across the stereo image, and joined intermittently by sustained drones or ethereal, melodic whines, with a hint of prepared piano. Hernan Gomez’s percussive and manipulated flute is featured throughout.

Natasha Barrett’s Innermost (2019) was first composed with natural but abstracted recordings from two outdoor Norwegian events. These were mass community celebrations, particular to Norwegian culture and devoid of political anxiety, although some of the electronically-treated, disembodied vocals seem to express elements of angst or anger. The interplay of manipulated vocal sounds and marching band samples contextualises the music in the open acoustics of a public event. Barrett describes the second section as an example of her notion of ‘spatial counterpoint,’ where many layers of minimal pitched sounds linger, intersect and interact.

The record also features Ferreyra’s Murmureln (2003), commissioned as a danceable electroacoustic piece. Ferreyra’s Argentinian roots are explored in a playful rendition of an old Comparsita, made from collaged vocal sounds and sampled fragments of tango musicians Astor Piazzola, Anibal Troilo, Susana Rinaldi and Roberto Goyeneche.

Beatriz Ferreyra has been at the forefront of electroacoustic music composition since 1963 when she joined the Groupe de Recherches Musicales as one of Pierre Schaeffer’s research assistants. She is one of very few composers still performing who was instrumental at the beginning of Schaeffer’s theories of sound objects and reduced listening techniques. She continues to compose commissioned works and perform around the world in a career that has spanned some sixty years.

Natasha Barrett describes her inspiration as coming from the immediate sounding matter of the world around us, as well as the way it behaves. “I’m really concerned with the idea of tangibility. Sound is invisible, but we can do things that make you want to reach out and touch it.” Barrett's works are performed and commissioned throughout the world, and have received a long list of prizes, including the Giga-Hertz Award and the Bourges International Electroacoustic Music Awards.

* Blessed Initiative is a project by Yair Elazar Glotman, which suggests a dissonant, coexistent state of extreme highs and lows. The album attempts to articulate a mental state of simultaneity, in which equilibrium is fleeting, fragile, and its scarcity is embraced. Opposite states coincide, contrast and reflect, creating moments of uncertainty and insecurity. Absurdity and at times even bliss are possible results, in the attempt to channel anxiety into creative forces rather than debilitating ones. In an environment where personas are the sums of the images they project, sounds are also no longer evidence of invention but of ever-changing combination, curation, and editing. The final persona is a sum of the chosen and the deleted, as well as what may be projected from outside, creating a confusing and conflicted self. The sounds collected here are attempts to compose on these uncertain grounds, and to reflect the anxiety released in all these sources' meeting and interaction. As a singular project, Blessed Initiative stops to comment on the conditions that inform Glotman's composition before and after it, and to acknowledge it as a non-linear, ongoing process.

* The focus on process and uncertainty is apparent in the album's phrasing, re-articulation and cycles of repetition and deviation. The pieces were composed from sounds generated on the KYMA system, personal foley recordings as well as tape manipulations techniques. Minor sounds on major scales and micro-tonal tuning suggest an ambiguous harmonic sphere. These were then integrated within idiosyncratic rhythmic structures, at times integrating real spaces and resonating bodies as reverb and augmented echo chambers. Concrete, almost-recognizable organic sounds contrast with these abstract spaces and connect them to tactile experiences. These textures and structures are a palette that reforms and deforms as it cycles throughout the album.

* The photographic series "Relax (blue)", 2004, by the artist Josephine Pryde was chosen for the album's cover as a materialization of tension. The two images represent a closed cycle of energy and unfulfilled release.

* Yair Elazar Glotman is a classically trained musician and sound artist based in Berlin whose previous works on Subtext include the LP 'Études' and a collaboration with James Ginzburg titled Nimbes.

London Based Multi-disciplinary Artist And Producer Buffalo Tide Presents His Latest Project 'pure Luxury' A Twisted, Bass-heavy Slow Jam Of Hallucinogenic Cuts That Melt It's Listeners Minds.

In Recent Years Buffalo Tide Has Garnered Spectacular Project Work And Press, Producing Music For Kenzo, Hunter And For Recently Closed Iconic Paris Store, Colette. He Has Released Music On Cult London Label No Pain In Pop, Presented A Mix For Dazed Digital And Had A Feature In The Nme.

Buffalo Tide Has Also Presented His Visual Art In Various Group And Solo Shows, Most Recently His Sound-installation Know Your Beholder At Sutton House In October 2016.

Built Over The Course Of The Last Year, Pure Luxury Features Surreal Vocal Samples, Juddering Sub-bass Lines, Jarring String Arrangements, Synthesiser Sweeps That Haul You Out Of Your Body And More Grime Than You Might Come To Expect From An Artist Like This...

* Subtext presents new work by the Istanbul based artist and musician Cevdet Erek in extracts from his soundtrack to the Turkish crime thriller Frenzy, winner of the Special Jury Prize at the 2015 Venice Film Festival.* These two compositions shed light on Erek's diverse sonic background, both as a member of the seminal band Nekropsi and as a celebrated conceptual artist presenting sound and installation works internationally such as his Room of Rhythms, which has been shown at Documenta, as well as the Istanbul and Sydney biennials.


* The first track presents a tense and driving percussive wall of sound that mirrors Frenzy's dramatic storyline set against a backdrop of political violence in Istanbul. Accompanying this is a textural recording exploring aspects of warped time and shifting geometry that references the films disturbing subtext of social paranoia.

* Frenzy will be released on vinyl and digital formats on the 13th of May 2016.

On Friday 2nd October 2015, Coppe' releases her 16th full album titled '20rpm' as a stunning super-deluxe, double transparent-red vinyl + DVD collection, alongside a CD+DVD and standard digital editions. Featuring all new collaborations with another star line-up with guest stars: Plaid, Chris., Kettel, Atom TM, Chris Mosdell, Terry D, and many more.

Launched in 1995, Mango + Sweetrice Records celebrates twenty years of Electronic music's most colourful, diverse and prolific collaborations, thanks to the charm, charisma and passion of one woman: Japanese singer, musician, producer & multi-media artist, Coppe'.

The one-time Japanese child-star, MTV VJ and FM Radio DJ decided to turn her back on her native commercial profile to begin recording her own material and forge long-lasting, collaborative relationships with some of the leading names in the emerging 90s IDM / Electronica scene.

Over 15 albums later, plus countless collaborations with the likes of Plaid, Atom TM, DJ Vadim, TheOrb, Kettel, Nobukazu Takemura, DJ Swamp, Kit Clayton, Christ., Barbara Morgenstern, Shipmate, Chris Model, DF Tram, Modified Toy Orchestra, Back Ted 'N' Ted, Nico No U-Turn, Addictive TV, Minotaur Shock, Terminal 11 and so many others, Mango + Sweetrice Records now celebrates its twentieth anniversary in style for 2015.

'Bottle Rain Smoke' premiered on The Creators Project/Vice (video below)

Much of Crewdson's singular sound can be attributed to his musical (instrument) inventions. Via these vehicles, Crewdson crafts skewed sonics that boggle the mind.' XLR8R

'Toys' is the follow up to producer/instrument builder Crewdson's debut album 'Gravity' on Slowfoot Records in 2011 and is a stunning album which is at once archaic and futuristic, folk and tech, accessible and experimental, danceable and introspective, naïve and sophisticated, heart-felt and humorous.

'Gravity' drew huge acclaim from the likes of Gilles Peterson, Clash, XLR8R, Time Out, BBC, Future Sequence and The Fader to name but a few.

The album is a highly skilled and inventive production that draws on a myriad of post-rave styles - garage, dubstep, techno, broken beats - and comparisons can be made to the electronic explorations of the likes of Flying Lotus, Polar Bear, Fourtet, plus contemporaries Mount Kimbie, Micachu and Jon Hopkins' work with King Creosote.

The weird and wonderful hardware electronic musical instruments invented include the The Odd Box, The Concertronica, The Eggiophone and The Sonic Bonnet and the album owes much to these instruments, which have increasingly become central to his production methods and sound, as well as the album's title and imagery. They also provide a clue as to his music's direction. Where the music on 'Gravity' blended jazz inflected harmony and concrete soul with his trademark skewed electronics and tumbling beats, 'Toys' is more informed by the harmonic, lyrical and sonic ideas found in folk music and his instruments perfectly reflect this meeting of folk and technology, the archaic and the futuristic.

In between his debut and this album Crewdson found time to release records as one half of electronic soul duo Eckoclick, be Matthew Herbert's right hand man both on and off stage as well as running his Accidental Records, write music for prominent designer Paul Smith, collaborate with London's National Centre for Circus Arts on a bespoke performance, work with fashion designer Jodie Cartman to create a range of playable musical headpieces, go on tour as tech support to Thom Yorke AND contribute sounds to the rescoring of the first ever British sci fi movie 'A Message From Mars' as a part of The New Radiophonic Workshop in collaboration with the BBC and the BFI.

CLASH: Fragmented post-dubstep with jazz leanings, the producer's work was imbued with a wonderfully engrossing sense of space'

The EC Band is a collaboration between American Brussels-based painter, former grindcore singer and musician Luke Calzonetti and Belgian visual artist, performer and percussionist Stijn Wybouw. Their first EC Band outing sees them conjure up four transcendent tracks driven by improvisation. The instruments used and the way the EC Band naturally and fluidly edit their musical output, make for flickers of musical mirages, infusing everything with a sense of space and abstraction. On the edge of what is recognisable emotion and perspective, Calzonetti and Wybouw are soft-spoken yet confrontational.

Following their second album 'Demiurge' released in May 2011, 'Medium' arrives as the first non-studio based production by Emptyset, recorded on location in the remote Woodchester Mansion in Gloucestershire. The collection of tracks explores the duo's preoccupations with the elemental properties of sound and bare rhythmic structures and overlays it onto the textural possibilities of space and material. The project marks their first act of adapting their analogue-based studio system into an architectural intervention, pushing extreme bass and feedback into the irregular spaces of the unfinished building. The rural mansion, which remains an incomplete remnant of the Gothic revival and a place studied by both architectural researchers and psychic investigators, provides a rich source of texture as the sparse palette of sine waves and noise is adorned with the intricate details of the space. 'Medium' emerges as an act of translation remodelling the house through sonic impulses into a state of audio, a fluid transformative gesture and a process mirroring the sonar impulses of the bats residing within Woodchester's rooftop sanctuary. The project, supported by the Woodchester Mansion Trust, was provided technical support by the renowned Bristol based sound engineer Mat Sampson who managed the array of vintage microphones and preamps distributed within the building along with the central monophonic sound system. The completed release is presented as a CD and a limited vinyl 12' which includes a special poster of analogue processed imagery by Clayton Welham and Sam Williams, who developed the recent Emptyset video for Function and who will once again be producing a short piece for 'Medium' using video feedback applied to footage captured within Woodchester.

The Paris based producer and DJ NxxxxxS’s delivers a new 13 track album offering a fresh and summery vibe. Shaped by his wavy trademark sound, which mixes techniques from genres such as, vaporwave, phonk, trap, hiphop, R&B and future beats

With 'Piscolabis', Golden Bug delivers a new UFO sound oscillating between electronica, robotic vibrations and psychedelic dub. Piscolabis embraces all the styles important to Antoine Harispuru and emerges as an astonishing opening onto new worlds. And he invited an impressive number of guests to his 4th studio album:

The French from The Liminañas or Tim Glass, the Japanese Vega Voga, the Australians from Funboys, Spanish singer Pajaro Sunrise, it is because this project was born out of the turmoil caused by opposition.

'Colibri' is a psychedelic labyrinth, a sentimental and hypnotic ascent that radiates on the dancefloor. 'Variation Sur 3 Bancs' featuring The Liminañas, immerses us in the world of acid western and psychedelic pop and makes you want to hitchhike on the road. On 'Tokoyo No Kuni', Golden Bug invites Japanese singer Vega Voga to create a musical epic worthy of an imaginary soundtrack by Toshiya Fujita. With its slow rhythm and spellbinding melodies, 'La Boite Noire' explores Berlin electronica immersed in chloroform. 'La Goutte D’Eau' takes off, dark and throbbing. The fluid rhythm is left behind by hypnotic patterns that push the listener into their sofa, which will not come out until the very end of the interlude.

'Fata Morgana' excites with its dirty rhythm, hypnotic arpeggiator and cosmic sound effects. 'Nid de Guêpes' interstellar flute wraps around slowed dub effects, like a 7" in speed 12", and evokes emotion by repeating its heady loop, an obsessive and mutant vision of music. 'Bring The Light' with the support of Spanish singer Pajaro Sunrise is an ideal springboard to touch the stars and explores the clear face of Golden Bug by merging choppy oriental guitars, solar vocals and dub rhythm. Without interruption, 'Kotodama' continues the journey on an unknown planet, on which Vega Voga comes to pose her suave voice on dark electronic arrangements, transforming itself into indescribable and harmoniously eccentric binary code. To end this journey, 'Le Chant Des Sirènes', carried by the voice of Frenchman Tim Glass, plays along the lines of scintillating and nebulous pop.

Vocal textures with robotic vibrations, complex and indescribable psychedelic music are Ariane's thread of this new sensory and universal album. Music to listen to, see and feel.

* Continuing Subtext's exploratory electronics and devastating sonics is the expansive Ego De Espinhos, the debut full-length from twenty-two year old Porto, Portugal-based artist Gonçalo Penas.

* Described by Penas as a series of 'self-exorcisms,' Ego De Espinhos is the cathartic outcome of a highly introspective process. Shaped by opposing forces and instincts, the LP touches on themes that are at once intimate, yet omnipresent. Splendor confronts destruction; id confronts super-ego.

* Created solely with digital instruments designed and built by the artist, Ego De Espinhos is the result of Penas' improvisations. Tracks such as 'Introdução, Umbigo' and 'Tecto Falso' were recorded in one take, and evidence a stark, dramatic emotional palette.

* The release begins as Penas chooses to reject rigidities, customs and conventions of experimental electronic music. Of his process, Penas says: 'Personally, I feel that creation should come from a completely free act of will. It is a place where there should be no rules, no expectations, no rights and no wrongs.'

* In Ego De Espinhos, Penas turns away from his own technical background, and towards a journey of forward experimentation. This follows his education in Music Production and Technologies at Porto's School of Music and Performing Arts. For the first time, he finds the freedom to articulate himself sincerely, unearthing beauty and acceptance amidst wreckage and devastation.

Ambient artist Takahiro Yorifuji created Ruminating on What Was Unsaid during the sweltering Tokyo July of 2019. On this record, a wistful and mesmerizing piano loop crescendos into a rippling wall of sound to create a mood of reflection. For Yorifuji, it calls forth nostalgic dreams of summertime in Japan.

This release marks the long-awaited return of Yorifuji’s record label Tobira Records, which he halted in 2011 after relocating to Tokyo. It also marks an exciting new venture for the artist, who in June 2020 will open his very own record store in his hometown of Kasai, Hyogo Prefecture, under the Tobira Records name.

It joins a string of other Hakobune releases put out this year, including The Last of Our Time Together from Past Inside the Present, A Fan, Strings, and Two Guitars from Patient Sounds, and Rain Studies from Constellation Tatsu.

Harglow is a musical project composed of Colin Nance and Eric Gorman. After bonding over a mutual love of horror and working in several music projects together, the pair embarked on an experiment to combine their love of horror and music. Harglow was the result. Originally based out out OKC, the record started as a series of stand alone sessions. After Colin relocated to Austin, the process evolved and became a satellite project, leading to the remainder of the record being completed over several months of file sharing. This is their debut record.

Record concept:
The songs contained on this record were originally discovered on two 1/4' tape reels with a single word written on them; "Harglow". The tapes were initially discovered during the estate liquidation of a well afflunced, yet eccentric, gentleman believed to be highly involved in the occult.

Based on additional material found along with the tapes, the sounds collected on this record appear to have been used as a soundtrack for the man's grotesque rituals, and the original creators are unknown. Notebooks and additional articles were also found that could point to connections to a larger occult involvement. This has yet to be confirmed.

Slowfoot Records is proud to introduce Hello Skinny and the self-titled debut album. Hello Skinny is the brainchild of in-demand drummer extraordinaire Tom Skinner, who's other current involvements include Sons Of Kemet, Mulatu Astatke, Matthew Herbert, Eska, Finn Peters and The Owiny Sigoma Band amongst many others.