Beats Vinyl New Releases - News

RESET arises as a wake-up call to the situation all of us are living through. A way of leaving a record of a fateful and paradigmatic moment in history. A backward glance serving as a way to face the future collectively and as a community. A manifestation of creativity and commitment. A reset to the habits and customs that we had internalized.

39 tracks by: Oscar Mulero, Francisco Lopez, Paul Prudence, Boris Divider, Fraction, Novi_sad, Barbara Ellison, Suso Saiz, Murcof, Estrato Aurora and more.

New 12" from Enclosed label, Ethical Governor returns with hipnotic and smashing techno, hard rythms with pure of obscure mechanical melodies for dancefloor banging.

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five albums of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

Across decades of activity Cinder’s body of work has forever followed its own elusive muse but nowhere is this restless spirit more apparent and ambitious than the 4th Cindytalk LP, Wappinschaw. Conceived as “a call to arms” inspired by Scotland and its struggle for independence, the title refers to an archaic Scottish battle inspection during which clan chieftains surveyed their group's weapons to ensure they were combat ready. A mindset of reflective preparation threads throughout the record, manifested in forms both naked and noisy, ancient and anguished.

Opening with an aching solo vocal rendition of the British folk standard “The First Time Ever (I Saw Your Face),” the album then surges into the Cindytalk classic, “A Song Of Changes,” sparkling and spiraling in strange waves of sorrow and joy. From there the mood fragments, tracing asymmetrical paths of feverish dirge, pensive spirituals, noir abstraction, spoken word (landmark Glaswegian writer Alasdair Gray guests on “Wheesht”), bagpipe drone, and apocalyptic post-punk. Given its aggressive eclecticism, it's not surprising that Cinder describes the creation of Wappinschaw as a “precarious” process, composed from “scraps” with abruptly shifting personnel – a situation only compounded by the impending dissolution of their label at the time, Midnight Music.

Industrial Complexx opens its vinyl releases with a first EP that brings toge- ther a historical part of the industrial scene with contemporary music projects. Both Esplendor Geométrico and Max Durante represent two different musical currents, with different situations in space-time but, with a similarity in terms of great contributions to future movements.

Little remains to be told about Esplendor Geométrico, pioneers of the most transgressive industrial music who have been active for 40 years and who have influenced countless bands and artists with their harsh and hypnotic sound. Necrosis En La Poya was their first single, released in 1981, the track we pu- blish is recorded live at a concert in Tokyo in 2010.

Max Durante is also another essential artist in the European electronic music scene, his most primitive work was to provide Italy with its first raves and to im- port the underground culture and sound to his country. His style is mainly cha- racterized by the harshness and combination of techno with industrial sounds.

To complete this great list of artists there are 3 projects that are currently on the rise, all of which have their own very particular sound. The British L/F/D/M is one of the great references in terms of elaborate sound taken to the limit, a specialist in combining extreme textures that fit perfectly with the dance floor.

Group is a project that wo-rks from anonymity and also has a very personal and very identifying Lo-Fi sound.

SOJ is the maximum responsible of Soil Re- cords, a label that faithfully reflects its so penetrating sound and always linked to a mix of EBM, techno and industrial.

Like cold northern winds, this sound approaches to discomfort the weak, and make those well-adapted feel alive. For all those who experience noise as a new form of contra-meditation, with its brain-saturating sensory information that enables disconnection and liveliness.
This cassette continues/tells a story through different soundscapes, composed with modular synthesis, field recordings and music coding languages, by the hand of the young Max Frimout, Physics student and music producer with a wide range of musical affinities and notable distinction.

Evolving from noise to casual percussion, with a final unexpected melody, it captivates and satisfies the true listener who is able to complete and understand the 6 cuts of this Ep.

We present the first reference of the X series of Structured Records, where experimentation of highly abstract electronic music will take place.

Sons of Traders 002 is a Compilation 8 Tracks Ep of loosely knit artists that surround the duo Sons of Traders (Mike Tansella Jr. and TANS). Leading the EP, the title track “Rotten to the Core” is a slow stomper with a forceful vocal sample and some various squelches. LA’s Kosmik picks up the tempo with “Murmurs” which features a hypnotic synth loop over a 4/4 beat. On “Chomping at the Bit” C.L.A.W.S. and Tyrell trade off between claps, hi hats and short delays underneath a sinister synth tone. To close the A side of the record is Future Blondes out of Texas with “2020 ultra visions”, a cut that can only be described as a sinister barrage of slamming drums and tones. The B side launches with “The Other Side of Town” by The White Lines, a dark electro workout with vocal samples, dark synths and growling bassline. Frigio label boss Juan Pablo brings us an intricate drum pattern with layers of synths on “Night Drive in Beijing”. “Self Feral” by Chris Mitchell is something with a hip hop swing, heavy drums, various feedback and vocals. Closing the EP is Dragee, a new artist from Tel Aviv. “Them” features a hard snare that holds together the demented vocals, claps and bassline that develop throughout the track.

Originally released in 1999, Trocante Gramofony E.P. by Nomex is re-pressed in a limited edition of 100 copies on black vinyl from the original plates.
Trocante Gramofony opens with the monumental ‘Fire Is The Centre’, followed by two other Nomex masterpieces, ‘Life Destroy’ and ‘No-Step 2000’, as well as three speaker-destroying fragments and locked grooves.
Official release date is May 10, 2021. Only 50 copies are available for general distribution, the other 50 are reserved for the Praxis online shop and bandcamp.
Trocante Gramofony E.P. was originally released in an edition of 500 copies on transparent white vinyl as Praxis 33.
It was a departure from Nomex’s releases on his own Adverse label and was naturally quite different from the DJ Scud collaborations on Maschinenbau. In relation to his other solo work, Trocante Gramofony is perhaps less conceptual and more composed.
‘Fire Is The Centre’ features vocal snippets recorded at a Dead By Dawn party sometime between 1994-1996. Some of these snippets had been used on the Dead By Dawn record by Shitness & The Jackal, but here they were embedded in a surging wall of noise spread over the first side of the record, complete with crackles, shrieks and ever
mounting intensity.
The second side opens with ‘Life Destroy’ an intense collage of voice, noise and music and ends with ‘No-Step 2000’.
Tracks don’t end in orderly fashion, instead the needle jumps out of the groove or is locked in a loop. The flow gets interrupted in the middle of the side of the record. These elements are again vinyl specific and can’t easily be transported to the digital realm, and this is one reason we decided to make this brilliant record available again in its ideal format, the vinyl 12”.

limited edition 12” Azure Blue vinyl (which includes an art print)

VEYL is pleased to welcome Harlem to the label for a new seven track album titled ‘Bait’. The Stockholm-based duo of Martin Thomasson and Johan Skugge bring a vast history of production behind them, operating since the early aughts and known for their work in dub and minimal techno. ‚Bait’ ventures into new territory for the project, delivering infectious strains of body music, new beat, industrial and beyond coupled with soul-stirring vocals which quickly dig beneath the skin. The release is about everyday manipulation, soft power and persuasion. We exist in a world in which corporate management techniques are deployed in our everyday lives, nudging each other for short-term gain, slowly hallowing out any lasting trust while ultimately all being crushed by a hyper-capitalist system. From the opening synths of the title track to the ominous ending notes of ‘Night Vision’, we also uncover funky grooves and diabolical floor shakers which remind us of something from the past but exist perfectly in this corrupted new world. As is customary, the striking cover art was photographed by Tomaso Lisca, and it’s a fitting piece for the record, depicting a tantalizing well-oiled machine, all while something menacing lurks under the hood.

Much-anticipated second full-length album from 2018.

On The Ultimate Climax William Maybelline takes the hints of his previous Cupio Dissolvi EP to a fully extended sulphurous formula.

Eight tracks where traditional goth standards get updated to new, bizarre heights.
The opener Black Crown is a brooding industrial, almost power electronics assault. Above Thee Below Thee is a powered-up disco nightmare with Black Metal-like vocals, drenched in factory steam and urban filth. Take Me Higher has some sort of electro-funk bassline to it. The closing track is a 155 bpm epitaph reminiscent of Czech doomcore pioneers Fifth Era.
The past is gone, the future is corrupted. The is no time but the present to brutally unload this Existential Nihilism thus let The Ultimate Climax unfold.

New edition of 300 on Gold vinyl. Comes with a new printed inner sleeve with lyrics.

Iker Ormazabal (IOM) shows us the incredible sound generated by his machines and his methodical way of constructing different industrial landscapes with Synthetic Dreams of a Carpet Moth. This album concentrates the ability of this Spanish artist, based in London, to take advantage of his long experience as a producer, with more than a decade working with genres such as noise, drone, experimental or industrial.

Synthetic Dreams of a Carpet Moth is a 12-track with a multitude of versions of what we can come to call industrial sound. From hard and penetrating rhythms, which at the same time are perfectly designed to be combined with extreme and highly radioactive textures, as is the case of the first 3 tracks, to connections with techno, with atmospheres more typical of ambient or drone, or also with other slower genres such as downtempo.

Group, is a formation with anonymous components, nobody knows who they are, hence their songs have names of sequences, they do not even want to give clues about it. Group debuts on Fill-Lex records with a conceptual album, fleeing from his facet more focused on the track. Repetitive and ethereal melodies, with infinite loops and mixed with broken, industrial rhythms and millimetrically calculated percussions, that will make your mind fly throughout 40 minutes.

RNXRX returns to VEYL for his debut album, 'Impreciso'. No stranger to the label, the artist first made an appearance on 'Previously Undisclosed Rituals' and then again with 'Sigil', a collection of B-sides which act as the perfect prelude to this offering.
Derived from an alchemy of inspiration, the album is the result of endless nights unearthing samples, vinyl oddities, effects databases from a bygone era and the artist’s own post-processed vocals - imprecise components which all combine perfectly to form this LP.
Unconstrained by genre, 'Impreciso' journeys through strains of body music, psychedelic rock, soundtrack and more, delivering electronic experimentations which expose the artist’s darkest tendencies while
revealing a long admiration of post-punk, hip hop and science fiction’s finest.
Twelve tracks falling somewhere between homage and reinvention, 'Impreciso' operates with 80’s circuitry, throws back to 90’s beat nostalgia and drills into a cyber-verse for a familiar yet unexpected trip perfect for this moment.

Pomassl's Seismik Krew gathers and expands more than 3 decades sonic search and processing. This double album follows the rhythmical side of Pomassl's work, inhering elements of the Skeleton series (est. 1996), heavy syncopated leftfiled, and always psychoactive chains of industrial techno. Consistanty keeping the world of sound brim filled in a masterly manner the narration consists of solo tracks, remixes and collaborations with the late Randy Barracuda, as well as DJ Sotofett and Alessandro Cortini.

Mastered By Frederic Alstadt at ängstrom Studio Brussels.

Superb Crazy insane sound from HK. An immersions in poetry and middle age first serial killer.

Experimental zone !

LTD 200 copies - Printed Sleeve

Formic Syntax is the newest LP created by Ebauche, aka Alex Leonard, which veers halfway between ambient and densely intricate beats. Having recently relocated to Berlin, this album draws on the myriad of artistic and musical inspiration overflowing in this city.

Originally released in mid-2018 as a limited edition cassette on Cosmic Winnetou, the album is now being given a full release on vinyl, CD and digital distribution by Supple 9.

The tracks on Formic Syntax have a distinctly harder edge than recent releases by Ebauche and much of the album is pulsating with angular sonics and crisp, sharp polyrhythms. As always, Ebauche has found ways to densely layer the audio spectrum with constantly varying electronics, whilst maintaining clarity and purpose.

Behind Closed Eyes aptly opens the album with subtle melodic pads, underlying bass drones, fractured field recordings topped off with alien distorted crackles. A Bipolar Retraction draws you out of ambience and into utterly hypnotic chaos. Unmeshing Cinematic Realism fragments things even more, just held together by driving beat, and Alcovic Arch reins you back in with a more palatable yet beat driven structure. The album then eases back and into two slow and languid pieces which hark back to Ebauche's earlier ambient releases whilst maintaining a beautiful attention to detail and sculpting of sound. The nine minute closing piece is effervescent, washing over the listener with waves of shimmering serenity.

The whole package is complemented by stunning cover art, itself a remix of a unique painting created specially for the release by Polish artist Adrianna Snochowska. The original is a 70 x 60 cm oil painting on canvas, and a print of the artwork is included with each vinyl copy.

Currently based in Berlin, Germany, Alex Leonard's last release as Ebauche was in 2018, titled Mutable, was honoured by Headphone Commute in his end of year lists and chosen as #10 Album of the year by A Closer Listen: "The gradual shifts in the compositions have a transforming effect on the listener: you start off in one place and end up somewhere else altogether. Then you go back to experience Mutable all over again."

Cold Body Music vol 1 is the first part of a new series of releases focused on cold wave, EBM, industrial etc. Vol 1's concept, curation and design are all our own work which we build around demos we’ve had in our hands for a while now. That is to say, all music on the album is previously unreleased. The format, design and fidelity pay homage to the early 80s “cassette culture” championed by bands such as Cabaret Voltaire, Throbbing Gristle, Clock DVA, and many more

Artists on the release: Victor 25-2 / Often A / Antoine Heroics / Silens Letum / Halvtrak / Schnell Funktion (H. Puolitaival & K. Rapatti)

Cabaret Voltaire is Richard H. Kirk and ‘Shadow of
Fear’ was the band’s first studio album in 26 years,
released in 2020 to critical acclaim.
‘Dekadrone’ delves deeper into Cabaret Voltaire’s
arsenal of “harsh rhythms and threatening
detonations” (Classic Pop).
A brand-new drone album on CD packaged in a
gatefold card pack and white double vinyl in a
gatefold sleeve with full colour inner bags and high
definition audio download. (‘Dekadrone’ is
presented across the double LP as four ‘Phases’.)
“‘Shadow of Fear’ is a brash and confident
rebirth… Richard H. Kirk has chosen a good time to
revive the Cabs’ ominous industrial funk” - Uncut
(8*)
“Masterclass in shapeshifting disco… clinches these
industrial shadow-dwellers’ influence” - Mojo (4/5)
“Kirk is intent on pushing forward, ensuring that
the hints of familiarity never come with an
accompanying tang of comforting nostalgia.” - The
Guardian (4/5)
“A lot has changed in the past 26 years, but what
hasn’t altered is Cabaret Voltaire’s knack for eerie
but danceable post-punk.” - NME

Venturing off course from his Post-Punk / Dark Wave project,The Soft Moon, LosAngeles born composer and multi-instrumentalist Luis Vasquez, embarks intonew territory withA BodyOf Errors,a bold reimagining of the soundtrack genre.With this album, Vasquez felt the urgency to break away fromTheSoftMoonrealm and deliver an even more intimate, self-reflecting body of work,while further unveiling inner demons & vulnerability. He continues to explore hisnotorious angst and visceral pain, but places them in the context of his ownphysical being, creating the deeply personal, yet relatable and compelling odditythat isA Body Of Errors,which Vasquez describes as a collection of themes toliving in the human body.

Opening track “Interno” with its crushing synthesizers, is a blast off into theabyss of self. Sinister gasps introduce “Poison Mouth” stomping you withrelentless torment before spiraling into oblivion. Halfway, we reach themechanized rhythms and throbbing cardiac pulse of “Surgery” expressingVasquez’s phobia with the body itself. “No Longer Human” with its hallucinogenicflutter and distant cries, imagines a fantastic universe beyond, with a nod to David Lynch’sTwin Peaks. The only lyrical appearance onABody Of Errorsis“Used To Be” a gut-wrenching wall-of-sound ballad romanticizing the strugglebetween one'sgood side & bad side. Pulling you into armageddon,A Body OfErrorscloses with “World On Fire” an epic post-apocalyptic battle-storm paintedvividly through symphonic devastation.

Parasian fellow Stephane Laporte joins the Antinote crew with a very introspective and dreamy full length record. kraftwerk gone ambient will be the best discription..TIP

Delving into the recent past in order to revisit forward-thinking projects that, owing to the social, musical or outright political climate, struggled to find an audience, Lost Futures returns with a record from Cairo based project, PanSTARRS. An assured and intriguing blend of post-punk and electronics, 'Ghaby Ghaby Ghaby' is the confident and personal work of Youssef Abouzeid, a fixture within Egypt's unique underground music scene.

"At the time, I was actively occupied by arguments on the fusion of culture in creative context, specifically between western and arabic elements." recalls PanSTARRS founder, Youssef Abouzeid. "The goal was to find a point of natural expression within Arabic songwriting that meets electronic guitar music, and put out something seriously inspired by both and easy on my ear."

By far the heaviest release from the PanSTARRS project at the time, 'Ghaby Ghaby Ghaby' immediately establishes a superior sense of rhythm. 'Khally Balak Hatmoot' practises instant hypnosis, Abouzeid's earnest vocals beckoning outsiders forward over a layer of feedback occupied by a ghostly shift, one which breaks to release a crescendo of post-punk guitar. This sense of subtle drama continues on 'Men Gheir Wa7da', demonstrating a skill for songwriting that recalls the uncompromising approach of The Birthday Party or Lydia Lunch.

'Tortit Naml' is driven by skittish, rapid-fire drums and tense guitars, either subverting or confirming it's subtly anthemic status with a dramatic explosion of feedback. 'Sala Ya Khaifa' brings respite, a mellow and earnest slow-burner, the bubbling spoils of the PanSTARRS studio providing a wistful texture drenched in reverb. Finally, '70mar 3ala 7osan' sees Abouzeid give his voice over to those same machines, burying his barbed perspective in contrary analogue bliss.

Half a decade later, Abouzeid's optimism and experimentation are certain to resonate on a scale beyond that of Cairo's defiant underground music scene.

"Working on everything myself, I enjoyed total creative freedom and kept an organic flow of dirt and error, which was key on this record", recalls Abouzeid. "Sometimes vocals were recorded as lyrics came spontaneously, sometimes written on paper and then recorded on first takes, but I always prioritized the moment while keeping the perspective in check."

Dalibor Cruz's debut LP traces his families bloodline to the mountain town of Siguatepeque and the native people of Honduras, teaming these ancient rhythms inside the framework of the midwest's noise scene. The artwork is an original piece by Gabrielle K. Brown and limited to 250 copies worldwide.

Cabaret Voltaire is Richard H. Kirk and ‘Shadow of
Fear’ was the band’s first studio album in 26 years
and was released in 2020 to critical acclaim.
The single ‘Shadow of Funk’ delves deeper into
Cabaret Voltaire’s arsenal of “vocal samples, harsh
rhythms and threatening detonations” (Classic Pop).
Three brand new tracks released on Curacao coloured vinyl with digital download code included.

Private Selection's first full length LP comes in blistering form from Santiago Leyba. Recorded in L.A. and his hometown of Albuquerque, New Mexico, the songs on 'Western Vices' are a reaction to some of the bleaker circumstances that exist in these places. Not unlike Santiago's past work, this music reflects the paranoid and altered states that some people live in as a result of their surroundings. It lies in contrast to escapism and revels in dreadful realities to bring to life a highly rhythmic, woozy and disenchanted collection of tracks. The 12 songs are named after characters, landmarks and phrases associated with L.A. and Albuquerque, acting as reference points for the dialogue of sounds that hold them together.

Santiago Leyba has been producing music as a solo artist and in collaborative affairs since 2010. Raised in New Mexico, he currently lives and works in New York City. Leyba has recorded and performed most recently as Santiago (Unknown Precept, Private Selection Records), Western Versions (Pastel Voids), and U.S. Hard (Pastel Voids, Blankstairs).

From the artist --

"Western Vices is meant to be listened to at high volumes."

Old, but still functioning computers are simply scrapped, made redundant and without remorse left to corrosion and an existence without a task and no perspective. That this doesn’t need to be so, and that even computers with limited storage capacity can still take on a function in society, is illustrated by Alexei Shulgin’s outdated 386, now serving as a musician. Performing Classic Rock's Biggest Smash Hits! The Clash! The Doors! The Sex Pistols! Hendrix! and more... gone digital, gone to 8-bit computerized chip-music with a singing computer, with all the charme available to a text-to- speech- programm.

Created by Russian artist Alexei Shulgin, 386 DX was “the world’s first cyberpunk band.” Known for its live performances on city streets and in nightclubs, the performer is a dingy, singing PC that runs Windows 3.1, equipped with a vintage sound card and loaded with MIDI files of drums, guitar, and synth and accompanying lyrics.

The ironic comment delivered by Shulgin and his singing computer is well within the context of the performances by the 386 DX rockband, with which he “toured” Europe in 1998 and performed on nearly 60 occasions. This one- man-one-computer-show was based on a similar idea as his current installation: Shulgin presented himself as a performer carrying a keyboard, and by simply hitting a key elicited the text-to-speech singing, accompanied by very simple music and a few Seventies-style visual effects.Alexei Shulgin simply is the King of Cyberpop.

For over four decades, Reiko Omura and Tori Kudo have endlessly woven themselves throughout the avant-garde and underground scene of Japan. While internationally appreciated in countless incarnations and contexts (Maher Shalal Hash Baz, Guys & Dolls), if one were to seek out an early moment in which the two artists created something truly awe inspiring, 1980’s Tenno (天皇) would be it.

As Noise, the duo experimented with the juxtaposition of Kudo’s extended organ based dirges (be they eerie and/or harmonious) and fragile, meditative harmonies found in Omura’s voice and more abstract moments of minimal trumpet, sparse drum and atonal guitar. Simultaneously tense and beautiful, echoes of Tenno can be found resonating in the work of their contemporaries and countless others spanning the past 40 years and an infinite amount more to come.

The LP was originally released by ALM and subsequently reissued in 1997 on CD (Pataphysique) and LP (Org), and on CD again in 2005 (Alchemy). Just past it’s 40 year anniversary, Moone Records is elated to announce the first edition of Tenno released outside of Japan as a LP in a limited run of 500 copies – bringing the monumental release back into print on vinyl for the first time in 23 years.

SOIL Records’ first cassette for 2021 comes with sublime work from MOKEN.

Having built up his self titled label alongside his sterling work as part of Oscillat, Lazare Hoche and Will & Ink, the one and only Malin Genie delivers his debut solo album. Moving beyond the pure club focus of his singles and EPs, the Genie has seized this opportunity to present a widescreen panorama of his sound, leading in with the subliminal ambience of "You" as a springboard to explore breaks, electro, techno, and especially IDM. There are so many ideas swirling round Anthropomorphic Sympathy, it's hard to know where to begin describing it. A true headphone commute for the deep listener to burrow into.

Mystery man MW Parsons takes care of the A side with Altvornorge, a melodic somewhat melancholy journey. Followed by Kusanagi, a mean and quirky slow burner.

On the B side Gluten Vrij and Sushi Delight by party crew Marck bring a more straight forward, percussive and groove orientated approach to the table.

11 lo-fi minimal wave smasher with German vocals.

Originally self-released as a tape under the artist name Pest(e), this 1996 collection of IDM and analog electronics is in fact the debut Lowfish album. Intended as a demo, it caught the attention of infamous UK label Skam —but after months of fruitless phone tag with the label, it was time for Gregory De Rocher to strike out on his own. Dropping his Pest(e) moniker in favour of Lowfish, in 1997 De Rocher co-founded Suction Records with like-minded producer Jason Amm, aka Solvent. While that Test(e) tape wasn’t technically a Suction Records release, it served as the impetus for starting the label, and we’ve always referred to it as catalog # suction000.

Fans of mid/late-90s Artificial Intelligence classics from Autechre, Locust, Aphex Twin, u-Ziq, and Bola will recognize those hallmark sounds here, alongside traces of formative influence from Skinny Puppy, OMD, and Tangerine Dream. Recorded live to DAT with a bedroom full of analog classics (Roland Jupiter 6, TR-808, TR-606, Arp Odyssey, Korg MS-20), a sampler, and an arsenal of cheap FX units, the melodies here are lush and addictive, with layers of warm, lo-fi-ish (get it?) grit - often intentional, sometimes just a product of the process. Although largely on the armchair techno tip, the dense drum programming also nods to the burgeoning drum and bass movement, which De Rocher was firmly (but only briefly) obsessed with.

For the first time on vinyl and rightfully re-branded as a Lowfish release, we’re thrilled to have Test(e) officially join the Suction Records catalog

Toksynna is a new label with a broad style thanks to the immense possibilities it can bring, or can be developed, with the experimental electronic music. For this reason, its line of action is going to be wide and at the same time homogeneous, as each release can be located in different environments and in different ways of understanding sound expression.

The first album perfectly channels the infectious and degraded image of the label. We can say that visually it is conceived in the image and likeness of this new artist, of which we do not know his origin and that it represents in a reliable way the experimental line that this label is going to follow, directed to genres such as advanced electronica, IDM, noise, ambient or industrial.

Kick & Cut is an 11-track work with a clear atmosphere, charged with tiny particles of volatile, minimalist and radioactive electronics. Its sound can be perfectly linked to different situations associated with nuclear contamination, from the warnings of Geiger counters to environments unsuitable for the life of any organism

Asturian Jheal Bashta draws inspiration from one of the most energetic episodes of his region’s recent history, that of the mining protests, to conceptualize his new EP, a work entitled Shot To Diginity.

“Broken agreements and an uncertain future, this was the trigger that made the miners rise up again and return to the barricades,” explains the press release of this work that they describe as “root techno for discontented people.

It was released through Traces Records, becoming their second reference,

The 5th entry on the DDQ series continues to rake the kerbside muck of 'club music', presenting 2 disparate visions from 2 label heads.

KUMP's mastermind Gil.barte opens proceedings with the stuttering bodysludge of Guédé and Egareur. Two kleine nightmusiks to drag you out of meatspace, with the Kyuss-ala-PCP throb of Guédé especially sure to find favour on fog-bothering 8 AM+ floors worldwide.

Tempos pick up and lights turn down on the B-side, with Lostsoundbytes (Vastechoses label head), driving disintegrating delays and snares into 3 Belgiqué-nouveau tools, keeping the rhythm & textures bumping throughout.

Artwork by Thibaut de Wolf

Minimal Wave present the reissue of a rare self-released record by Plugpoint Music called ‘Last Chance’. Plugpoint Music was the minimal synth project of Reiner Ossmann, who recorded the 12 songs on this album in his home studio in Germany in 1987 and released them as an edition of 200 copies. This gem of a record was never properly distributed and so essentially disappeared until it began circulating amongst various collectors during the last 15 years. The sound has been compared to the likes of Mort Garson and Cluster. It’s a true minimal synth classic in all of its eccentricity and lack of self-consciousness. The record has been remastered and is pressed on 180-gram black vinyl as an edition of 500 copies along with a lyric insert sheet.

After several acclaimed EPs, including Risk in a New Age(Desire Records 2014), License To Desire (Desire Records 2015, reissued by Aurora Borealis recordings in 2017) andWeehawken (Clan Destine Records 2016) – Orphan Swords’ debut LP, Ascent, finally arrives. In recording the album, the duo took the radical decision to interchange their usual respective input in the creative process, which resulted in a revelatory piece of music, one that functions as an initiatory narrative summarized as follows:

Ascent is the story of an enigma vanishing into a mountain, somewhere undefined. You left your home long ago but still you endeavor to solve this mystery. At last, today you reach the highest town in the mountains, the ultimate refuge before the loftiest peak. You prepare yourself for the culmination of your search, the ascent.
As you climb, the path gets steeper and steeper, the air thinner and thinner. Exhausted and out of breath, you push on. Surrounded by clouds and ice-cold stone, through the haze of your confusion, you’re struck by the thought that the object of your obsession, the missing entity you’re driven to find, is a part of you. It was lost long ago along with every memory you had of its form and shape. Nevertheless you know for sure it’s what you seek.

Ascent is the story of that search for inner unity, through transience, emptiness, and finally, acceptance. Through profound introspection we ascend.’

Ascent is the first part of a diptych. Breach – also recorded during the same period – will follow and conclude the two-part conceptual series at a later date.