Beats Vinyl New Releases - News

Carlo Onda vinyl debut represents the Neue Deutsche Welle reinterpretation as it must. Truly vanguard and fresh minimal synth and perfect Germanic vocals that transport us to splendor days of Grauzone, DAF, Joachim Witt or Robert Görl. All tracks have been specially remastered for long cut vinyl by Eric Van Wonterghem at Prodam Berlin.

Harnessing the golden age of Italo where the synthesiser was king and the cosmos was key, Riot Records bring four, standout re-edits to the table.

Ziggy Phunk steps up first with 'Lost Treasures', chopping and re-stitching this chugging, cosmic masterpiece - heavy on the Juno bass, arpeggiated synth lines and weighty drum machine hits. Rayko then hits with 'Inchi', introducing a dreamy arp and reverberating snares to this celestial jam, where resonating guitar licks trade off with interplanetary synthwork from a distant dimension.

On the flip side Jaegerossa blasts off to Mars with 'Love To The Max', packed to the rafters with sublime brass synth sounds and that archetypal, punchy '80s snare hit that echo off into the ether. Couple this with absorbing, pitch bent chords and a dynamic bass and it's a galactic marvel ready to be unleashed. Closing out the E.P, sensuous vocals marry with sweet strings, dazzling keys and uplifting melodies in Camino's, 'Bela Solo' - the perfect round-off to this expertly done Italo homage.

DJ Support:

Dimitri From Paris, Soul Clap, Hifi Sean, A Love From Outta Space, Ron Basejam, Sophie Lloyd, Eli Escobar, Mousse T

Dean Zepherin is truly a producer who has managed to find his lane and appeal.
Born and raised in London - a suitably eclectic city for a man of his musical persuasion - he is renowned for his consistently genre-pushing productions.
In other words, a perfect match for Local Talk, a label not afraid to go beyond the classic 4/4 sound and explore different styles within house music.

Opening track Blue Moon is an organic, warm and enveloping chunk of deep house bliss and there's no doubt that Dean loves his house served with with plenty of horns.
Next up is Flying High, a jazzy uptempo house cut smothered in expansive percussions, trading organ and trumpet solos over elastic synth lines.

Music that speaks to the senses

Debuting on the freshly-minted Mad Habitat imprint, Greville’s EP is a bifurcated effort split between tranquil ambience, and hazy couch-locked house, with influences of each bleeding through and influencing each work in a stylistic osmosis. The sound palette blends crystalline synth patches, mimetic foley and field recordings in a playful spectrum of realism and synthesis; borne from the duality of always wanting to be in the studio while dreaming of the natural world outside it.

Originally self-released in 1985 for Sterile Records, 'SOLAR' is the Nocturnal Emission's most successful album ever. The release is marking the end of a period of more "conventional" songwriting and instrument use for Nocturnal Emissions.

The first couple of albums were brooding, bleak affairs that called to mind a more sedate version of SPK. Then came a few albums that were firmly song-dominated. 'SOLAR' was the last of the bunch, and was the most explicitly "message"-oriented and political.

"Songs of Love and Revolution" was a big step forward for the band, having a full colour cover and turning the NE sound further towards electronic pop music. Classics such as "No Sacrifice" and "Never give up" have made this an essential album for every fan of electronic music.

As Nigel himself reminds, they were buying lots of equipment at the time and seemed to have naturally acquired some skill over the years so they thought, ‘Let’s make some pop music.' He continues: "The Miners’ Strike was on and there were riots down our street in Brixton. I was convinced there was going to be a revolution. But it would probably have been quite unpleasant. All these old punks and hippies preaching revolution, I don’t think we were really prepared to live with the consequences. If we actually had a revolution in this country, it would be like Iraq or something, or Syria. But we were having horrible times with Thatcher. All we could do in that sort of milieu was imagine what the alternative would be like."

Originally a Library oriented Music label, Apollo Sound by the mid 70s commissioned contemporary musical pieces from new composers, aiming presumably to provide atmospheric backgrounds for film, television and advertising, and to feed the burgeoning demand for ‘New Age’ music. Therefore comes Following The Light.
While certainly melodic, Owen’s music makes no concessions to mid-afternoon mindfulness or commercial use and reuse. Instead, Following The Light - whose title is taken from the Tao. Number 27 - is a deep and immersive listening experience, clearly the work of a singular musical imagination following its own rules in its own way.
With the help of Katherine Sweeney on violin and Milada Polasek on electric piano and organ, Albert Alan Owen recorded Following The Light in “live” condition, taking profit of a strong use of the digital effects which were in its infancy at this time; the music was written to make the most of what technology was available, resulting a singular piece of music of sheer beauty
The record demands to be considered as a stand-alone unit, its three sections unfolding elegant and propulsive by turns, as reoccurring themes answer each other through the layers. There are echoes of Reich and Riley in the use of delay, that warm rolling repetition and those bass pulses. But this is not in the service of a system. There is something more lyrical, more humane at work in the music.
With Following the Light, Albert Alan Owen has given us a record that stands outside of time and place, it’s familiar elements made strange and new, all bathed in magic hour light.

Mitchell Street Records proudly presents its second release following the success of Jasper’s James ‘Crypto’ opening the labels account back in late 2018. The Dutchman has a Moroccan background but grew up in the Netherlands and is now a firm fixture on the capital’s club circuit, and takes over both sides of the latest MS record, with two off-kilter electro jams and a twisted remix delivered by Scandinavian upstart Samo DJ.

Jasper and Elias’ musical relationship stretches back a few years after a chance encounter at Amsterdam’s Claire nightclub. The two young DJs instantly hit it off after sharing a DJ booth and were playing b2b minutes after their initial meeting. Following a late-night trip and some home-grown hospitality around Amsterdam. Jasper returned the favour by inviting Elias to join him at Glasgow’s legendary Sub Club alongside another Dutch favourite, Tom Trago, and their friendship was firmly established.

For a number of years Elias has been a regular at Amsterdam’s most respected institutions including his residency at De School. His ‘Private Hearts’ show on Red Light Radio is a go to show on the world-famous radio station and shows his eclecticism as a selector. Elias openly admits to being passionate, emotional and sensitive, and it shows in his DJ sets which take inspiration for the music around which he grew up – Michael Jackson, Prince, Stevie Wonder – as well as from more contemporary flames like Omar-S, Zip and Beautiful Swimmers. To date he has played venerated night spots like Concrete, Sub Club, Le Sucre, Institut für Zukunft, Nitsa, objekt klein a and many others.

“When I make music and I play out, I have to open up my heart and be able to spread the same love that I get when I’m on the dancefloor,” he admits. “That warm feeling that hits my soul is the thing I aim for when producing my tracks or when I play in the club. Music is a highly emotive way of expressing myself, and when people recognize that I’m the happiest person on the planet’’

The two original tracks demonstrate his ear for sounds that span genre and time. The EP’s lead track ‘The Right Key’ is rooted in electro but borrows from the electronic palette of Kid A or Aphex, whilst maintaining enough of a dancefloor feel to make it into one of Craig Richard’s DJ sets. Vocoders and a sense of melancholy make for a unique track that anchors around a musical bassline and melodic synth pads.

On the B side ‘Driving With No Purpose’ has a more Balearic feel, again taking lead from a melodic bassline. Synthetic strings rise with more of the melancholic introspection found on the A side, walking the line elegantly between dancefloors and lonely train journeys.

Samo DJ takes his remix into all together darker territory, sharp synths sit under Elias’s melodic arpeggiators whilst drilling down into the core elements of the original. Reverb washed cymbals and synthesisers fill the mid-range and the tracks notable lack of kick drum stops the track becoming predictable.

Private Lesson: Project from Los Angeles comprised of

Damon Palermo (Damon Eliza Palermo, Magic Touch)
Nick Malkin (Nick Malkin, Afterhours, Post Geography, La Vampires, Sun Araw)

Featuring contributions from

Vocals/Lyrics: Takako Minekawa
Production/Mix: Sam Eaton
Master: Gabriel Schuman

Burning Rose is proud to announce a repress of Buzz Kull’s 2017 LP, Chroma. The seminal album is a mass of jagged synth lines and pounding drum machines, a testament to Marc Dwyer's personal sonic exploration over time. Each song on Chroma transcends the traditional archetype of darkwave by pushing pop sensibilities, focusing on different emotional states and boundaries.

Since Chroma’s release, Dwyer has given the world a sophomore album, tackled multiple tours abroad, and continues to remain an elusive but omnipresent figurehead of darker electronics within his hometown of Sydney.

The second pressing of Chroma will be available on June 1st, to coincide with Buzz Kull’s European tour with Zanias.

After his first release on Soundtravels, the Aspiration EP ST003, Dircsen is back with another astonishing EP which you can easily call a sequel to Aspiration EP.

Four heavyweight dancefloor bombs with Dircsen's signature, well worked out, 303 basslines, accompanied by moody synths. Dircsens tracks are always built to perfection, distinguished and raw at the same time. Timeless tracks which will last a lifetime. Don't sleep on this one!

Pantene was a live performance art-pop group that existed in Berlin, Germany in 2015. Its four core band members; Marijn Degenaar, Molly Dyson, Olle Holmberg, and Rahel Tierbach took a DIY approach to instrumentation and arrangement, where intergenerational low-fidelity samples collide with subversive and pithy lyrics. Using laptops, MIDI, samplers and effects units to deliver re-contextualised pieces of music, Pantene explored issues surrounding cultural constructions of power, identity and sexuality with effortless aplomb.

After 10 years of vinyl pressings on Lapsus Records it's now time for our first ever "vocal" release!

Many of our Lapsus Radio (Radio 3) followers may already be aware of our fondness for synth-pop, however as a label we have never dabbled with this often unfairly maligned genre, until now...

From the moment we first heard the material from British artist Circa 2000 something magical transpired. William Wiffen's production blueprint signals a new twist in this forty-year old genre. ‘Thoughts In Vias’ –the album released in 2017 on Computer Club, the sub-label of influential Sheffield label Central Processing Unit– offered the first opportunity for us to witness the work of Circa 2000, the UK producer and composer residing in the costal city of Brighton. After his debut, in 2018 William released the ‘The Sun To The Waxing Moon’ EP on the multifaceted Chilean platform Infinito Audio, in which he delved into his more experimental production side.

Circa 2000 now joins Lapsus Records to present ‘Faith Healer’, his most personal work to date and a palpable tribute to the work of Scottish composer Alex Harvey, during his time leading The Sensational Alex Harvey Band. ‘Faith Healer’ is a seven-track album that revisits the nascent days of new wave and synth. It is an exercise in raw and analogue electronics that transports us back to the golden era of synthetic electronica, in which bands like Deux, Victrola and Monoton redefined minimalism and underground pop.

‘Faith Healer’ will be released in July and available on limited edition vinyl and all digital formats. As always, the Basora studio has once again provided us with stunning artwork for this release.

Africa Seven is taking its first trip to Germany... Well Germany via Cameroon. Charlie Kingue Soppo is better known as Charly Kingson, cousin of Manu Dibango and a Cameroonian emigrant in the 1970s. Charly first headed to Paris and then found his way to Munich in 1978. He recorded two albums in his career, "Born In Africa" in Munich in 1978 and "Dance To The Music" two years later in New York.

For this outing we focus on his debut "Born In Africa". It was recorded in Union Studios in Munich with some of the city's finest (and surprisingly funky) session musicians of the day.

The LP opens up with "Nimele Bolo" a trademark Africa Seven sound if ever there was one… early growling analog synths, big stabby brass and afro rhythms. Add in Charlys vocals and it is easy to see why this track was a highlight of our recent African Airways 04 Funk compilation. Next it is time for smooth ballad, "Makakane Masu" and its smooth jazz overtones. Next "Manyaka" the suspenseful string section, octaving keys and percussive horns drive the wah wah guitar and Charlys brooding song.

On the flip side we open up with the rolling bass and swinging brass of lead track "Born In Africa". This track was a single and it's the perfect microcosm of the album elements in one track. It even manages to name check all the big afro musicians of the time. "Nanga Boko" and its big smiles all around for the good time synth-boogie funk. We close off the LP with "Reviens-Moi" a pensive ballad about Charly's forlorn love. He wants her back of course.

After Charly moved on from recording in the 1980s he stayed in Germany, performing in a series of local jazz and funk bands. We tracked him down in 2016 and we really pleased to be re-releasing his debut long player at Africa Seven. It sounds just as relevant (if not more so) in 2018 as it did 40 years ago in 1978.

Sony Music Entertainment's Depeche Mode 12" vinyl singles project
continues with the release of Black Celebration | The 12" Singles and
Music For The Masses | The 12" Singles on 31st May 2019.
Each of these definitive box sets contains 12" vinyl singles
contemporaneous to either Black Celebration (1986) or Music For The
Masses (1987). Both pivotal releases in the Depeche Mode canon, these
albums advanced the band's musical mission, moving the DM sound from
industrial pop into darker atmospheric emotional territory.
Following its release in 1986, Black Celebration became the group's
then-highest charting album in both the UK and Germany, expanding
their influence across pop culture while inspiring myriad young
musicians to start bands of their own.
The next year, Music For The Masses furthered Depeche Mode's
international mass appeal, breaking open the United States and other
markets with the record-setting Music For The Masses Tour. An
electrifying and historic adventure for band and audiences worldwide,
the tour included Depeche Mode concerts in then-communist East
Berlin, Budapest, and Prague.
Both Black Celebration | The 12" Singles and Music For The Masses |
The 12" Singles extended Depeche Mode's increasingly mind-blowing run
of 12" singles and featured some of the band's most sublime artwork
to date. Each of the albums showcased some of the most enduring
singles in the DM catalog; Black Celebration featured "A Question of
Lust" and "Stripped" while Music For The Masses contained "Never Let
Me Down Again" and "Strangelove" (Depeche Mode's first #1 US Dance
chart hit).
Black Celebration | The 12" Singles contains the four original 12"
releases from the album plus a 12" vinyl version of the limited
edition "A Question of Lust" cassette release, available for the
first time internationally in this collection.
Music For The Masses | The 12" Singles includes the seven original
and special edition 12" vinyl singles from the album.

“Prove Your Love” by Misunami & First Touch returns to the Neon Finger catalogue in a brand new 12″, including the original versions (vocal and instrumental) plus two new mixes by the enormous Nick Wisdom (1/2 Potatohead People) and the huge Bamboozle aka Eli Soul Clap. After the big success of the track years ago, being played by some of the biggest selectors in the world… This future classic boogie disco track is available again with two new astonishing remixes that will burst into flames any dancefloor. Don’t miss it!

The illusive Nelson of the East reappears with his forthcoming EP Phase Alternating Lines – a first class two-tracker.

The Swiss-born, Milanese artist released his first EP Night Frames just last year, making a strong entrance on Tartelet Records. This time around, N.O.T.E explores 80s electro boogie with ‘Phase Alternating Lines’ on the A side, and delivers his very own take on obscure tribal house with “Burning Palm” on the B side.

N.O.T.E is young, thirsty, and dead serious about his music. His admirable work ethic shows off not only in his own releases but also in his collaborations with other artists. In the past year alone, he has produced for Wayne Snow and several others that are keeping their work under wraps – while simultaneously creating music as N.O.T.E and under his Verner moniker. All the hard work seems to be paying off on this new 12’, where he comes through with two outstanding dance-floor bombshells.

If you’re into the 80s, Beverly Hills Cop, or just sad that you missed out on Studio 54, you’re going to love EP opener, “Phase Alternating Lines”. It’s got it all: hot drum programming, an electric boogie bassline and a cheeky melody that sticks. “Burning Palm” takes us into obscure tribal-meets-afro-house territory, utilizing percussion, synth marimba and hypnotic melodies – all held together in a tight, driving groove. This track is exotic at its root and perfect for any late night outdoor activity. Both tracks come as extended edits for the vinyl release.

This is a limited-edition release of 400 copies, written and produced by N.O.T.E, arranged by N.O.T.E in close collaboration with Tartelet Records’ label head Dirk 81 and mixed at Panalama Studios in Copenhagen on the Neve 5088 Shelford console for good measure.

grey coloured vinyl

Mind Records and Spooky are proud to announce the official reissue of "Tapas", an indescribable and beautiful album by Sueño Sueño, a mysterious German duo from Mainz.

Little is known about this album, which was originally released on
cassette only in 1983 by Eduardo Van Kasteren (member of Van Kaye & Ignit) on his label Ding Dong Records.

What we do know is the arousing curiosity it triggers as it unfolds, it feels like a fantasy summer holiday in a dark metallic wintery world, as if somehow Mainz had become a Balearic island. Some comparisons can be made - Naffi Sandwich, Swamp Children, Maximum Joy, Young Marble Giants - but these, all lack the unique ice cold synthetic Latin sound of an imaginary German 80s tapas bar where "Sueno Sueno" all work.

Originally released in 1985, "Saunetic Fraction" finally gets a reissue (limited to 100 copies), and staying true to the original, once again on tape! A collaboration of France's M.NOMIZED (aka Michel Madrange of No Unauthorized) and Belgium's UNOVIDUAL (aka Henk Wallays of Micrart Group / co-founder of the 3rio tape label with Magisch theater and Dirk Ivens of Absolute Body control) . The 18-track album is a diverse beast, but affirms itself among the grandees of Minimal Synth and Electropunk, whilst maintaining a unique twist. At times coming across as the French / Belgian version of Chris & Cosey, there are also elements of the early cut-up Dadaist experimental oddness of Cabaret Voltaire. A much sort after tape, that was originally released in a ludicrously small edition, on Unovidual's own label.

*Please not that the tracks: "Aerial Waves" + "My Geisha", do not appear on the cassette, due to side length issues.

MORE INFO:

M.NOMIZED: Synthesizers, Tapes, Treatments, Loops. / UNOVIDUAL: Synthesizers, Vocal, Drum Box.

Music composed and played by: M.Nomized & Unovidual. Thanks to Peter De Middeleir (Belgium) and Fraction Studio (France) for recordings. All rights reserved. P. 1985.

E-Missions welcomes back Rush Plus with three forward thinking techno cuts and a remix from Enemy Records boss Dustin Zahn.

Comprised of Jackson Ryland and Jus Nowhere, Rush Plus are known for helming their Rush Plus Records and Metro Xpress imprints when not appearing on Ambivalent’s Valence and P.Leone and Caiazzo’s E-Missions, with the latter releasing their critically acclaimed ‘The Sweat’. Their refreshing take on techno has resulted in continual support from all corners of the scene including top tier names like Ben UFO, DVS1, Daniel Avery, and many more.

Opening at full pelt, ‘Staring At The Sun’ pertains to the duo’s ability to master rhythm, fusing manic syncopated patterns with clashing keys and ringing bells until Dustin Zahn’s rework takes a lighter approach with cosmic synths and dusty brushes. ‘Waverunner' is next, blending acid lines with an ambient soundscape reminiscent to a retro video game, making way for the galloping ‘Sh,Boom’ with its hypnotic vocals, rumbling low end and sonic zaps to conclude matters.

The Belgian duo San Soda and Red D entered the world of recorded music some 12 years ago with the inception of Red D’s label We Play House Recordings. A few years later their collaboration continued in the studio with the start of the FCL project, leading to original and remixed club hits.

In the meantime both have gained considerable mileage and reputation as adventurous DJ’s who are not afraid to take risks and with a ‘no boundaries’-approach to playing music. Being Belgian they continue to find inspiration in Belgium’s rich music and clubbing history, which led to the ‘Our Beat Is Still New’ compilation in 2013 on We Play House Recordings. Both San Soda and Red D contributed some tracks and thus the aliases Nick Berlin and Max Erotic were born.

Fast forward to today and Club Belgique, a concept Red D has been brooding on for quite some time. A true tribute to Belgium’s club (music) heritage which consists of club nights and also a new label for fresh material by himself and San Soda in his Nick Berlin guise. This release brings you that new material in the form of two tracks situated between new beat, synth pop and italo disco. Long live Belgium!

Rare sought-after future disco via Italy. Composed during the time when GIORGIO MORODER was creating DONNA SUMMER's "I FEEL LOVE" and FRANKIE KNUCKLES was making a name for himself at the WAREHOUSE. Limited import color vinyl. Don't sleep these will be gone fast.

LTD to 300 / SPLATTER VINYL. Planet Mu Recording artist, Gobstopper label boss, and Boxed club night founder Mr.Mitch provides the third PRESSURE release of 2019. This strictly limited, blue and yellow splattered vinyl platter is futurist dancehall at its most exhilaratingly demented. Random synth patterns, chaotic bleep emissions and all round oscillating madness ensures this furiously fresh track, flows freakily, like a bogle frenzied droid transmitting from Kingston, Jamaica, year 2049. Kevin Martin aka The Bug, nagged Mitch into submission, to release this Acid Ragga killer, after the PRESSURE label CEO, heard ‘Not Modular’ standing out clearly from Mitch’s gobsmacking one hour ‘Techno Dancehall Mix’ at the end of 2018. And as a tribute to South East London don dada Mitch, The Bug himself decided to slice, splice and dice ’Not Modular’ into two additional atomised remixes. The Bug’s ‘Straight’ remix, is sub aquatic bashment, pulsating deeply from the bottom of the ocean, buried in a blizzard of white noise and disembodied, hypnotic chimes, with panic sirens set to stun. Whilst the ‘Raw remix’ is no less disorientating and funky, sounding like Lenky’s classic ‘Diwali’ riddim rewritten by an 808 clap addict, with hips set to full rotation. Conclusively alien and ridiculously infectious.

it's a 2nd release of studio mule's new project with miyako koda aka dip in the pool.

following the cover version of ohnuki taeko's carnaval,we made the new version of japanese new wave classic 'shinzo no tibia by mariah' with a new lyrics in japanese(original is in armenian)which is written by miyako koda. yasuaki shimizu kindly gave us the permission to do this.

extended version on a side is full of the respect for the original version and dub version on b side is dark new wave dub version. kuniyuki said the idea of this version came from adrian sherwood's remix for depeche mode.

Oblique Russian sound strategist Natalia Salmina’s latest forking path portfolio as Atariame, Voiceless, arose in the wake of a dissociative relocation to Moscow, where she found herself adrift amidst a manic metropolis, alone in a skyscraper staring out at trees: “It made me lose faith in my ability to communicate, in my ideas about life.” Days without speaking turned to weeks. Even in private she felt estranged from her voice, and soon ceased singing.

For solace she turned to her Waldorf Blofeld, mining its panoramic frequencies to craft a shivering suite of futurist-noir nocturnes and rhythmic noise vignettes, equal parts exorcism and manifestation, desperation and delirium. Track titles hint at the headspace – “Outside At 5 AM,” “Same Thought All Day,” “Stay Late” – mirroring the music’s mood of hoods up, headphones on, wandering empty urban tunnels under flickering streetlights. Enigmatically, Salmina slips in a sliver of spectral voice on the intro and exit songs (“Breathe Exercise” and “Deconstruction”), framing them as induction into and escape from the cryptic isolationist condition of the rest of the collection. Mastered by P. Nikolsky, Powerhouse Moscow. Design by Britt Brown.

Patience began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesizers, the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full emotional spectrum always latent in Clifford’s songwriting. From her first long-sold-out 7” singles on Night School, her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise. ‘Dizzy Spells’ serves as an intimate portrait of Clifford’s creative adventure, almost diaristic, conceived and recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing). Dizzy Spells delivers a debut album that twists Clifford’s songwriting into new shapes and ecstasies. The album dances around melancholy, thrown to the floor like a bad dream to be circled, emerging bright-eyed into the early morning full of hope. The Girls Are Chewing Gum (produced by Todd Edwards) bursts open Dizzy Spells like fresh fruit: sweet and rich with a synth-bass line beamed down from Chicago House heaven. Exquisitely sung by Clifford, it’s a wonderful, funky, instant-classic hinting at sexuality and memories dredged from our bodies’ secrets. The bouncy production expertly renders the addictive power of our ephemeral pleasures. Living Things Don’t Last chases themes of longing and loss, opening up into a life affirming chorus that sings of transience, the passing of time and railing against inertia. It’s the perfect example of a song formula that Roxanne Clifford has almost patented: simple and cutting straight to the point. There are shades of Strawberry Switchblade or French synth pop pioneer Jacno in the happy/sad dichotomy and it is all the better for it. Dizzy Spells features all three long-sold out singles, embedded in the full depth of Patience’s soundworld they fit like pieces of a puzzle. White Of An Eye, The Church and The Pressure—all recorded in Clifford’s former home of Glasgow—crackle with razor sharp melodies and dancefloor-ready dynamics. There are exciting additions to Patience’s sonic palette, brought into sharp relief on Voices In The Sand. In this song, a plaintive Clifford enunciates a heart-torn plea to the antagonist, a mournful cascade of synths and haunting vocals evocative of AC Marias, a sepia-toned ode to anxiety, “a storm is on the way”. On No Roses, a Vince Clarkesque production belies a sunburnt sadness. Clifford defiantly sings “you would go out tonight, but there’s nowhere you like,” describing a disenchantment with her adopted city of Los Angeles, she longs for home in a singular refrain “No roses… no roses for us.” An ode to English folk singer Shirley Collins, a surprising yet innate influence throughout Clifford’s work. On Moral Damage, former Veronica Falls bandmate Marion Herbain joins Clifford on an anglo-french duet that feels instant and spontaneous, a cutting comment on emotional accountability. More than a vehicle for Roxanne Clifford’s songwriting prowess, Patience is holding our hand through the night, dancing with tears in our eyes, dizzy and spellbound.

Hailing from different places in western Europe, Luc Bersier, Low Bat, Leonard Prochazka and Ariel Garcia created this vibrant EP. Their synergy tells a story of creativity, freedom in sound and, above all, playfulness. Serious music while similarly not being to earnest.

Their venture evolved into a very original blend of cosmic music, utilizing instruments that fit into the neofolk Krautrock domain, vocal experiments into French chanson territory, infused in Berlinian cosmopolitanism. Expect an exciting minimal wave synth punk orgy, punk definitely being the defining trait underneath these layers of sound.

This is boundless music with attitude, capable of making us drift off and disrupt us in equal measure.

After a sabbatical period, Roberto Auser makes a comeback with his analogical machinery with the exquisite mini-album called “Chaos Never Dies”. In this record he explores a broad range of sounds from minimal-electro to acid with a touch of improvisation from his particular perspective based in roughness, rhythm and immediacy. Limited to 300 copies.

We could wax lyrical for days about the music of Ewan Jansen but we’ll leave that for the blog sites and Reddit message boards whose pages his name regularly graces. The Australian producer responsible for seminal 90’s label Red Ember could be seen as an unwitting progenitor of the now well established and flourishing Australian House music scene and his vinyl releases have become highly sought after and frequently exchange hands for triple figures. Appearances on other legendary labels such as Mike Grant’s Moods & Grooves (who released Ewan’s Blueline Summer LP in 2005) and Chez Damier’s Inner Balance. In 2016 Ewan brought Red Ember out of hiatus releasing some solo material that sounded fresher than ever, continuing to push his raw yet musical, authentic house sound. Cut to the start of this year and Jimpster is flicking through Instagram when he stumbles upon a short clip of some work in progress on Ewan’s
profile. Transfixed by the vibe, he contacts Ewan to offer a release on Freerange and we’re now super-proud to present you with the Perfect Strangers EP. Four original tracks showcase Ewan’s impeccable attention to detail in the grooves, sounds and production. With the uptempo, afro-tinged synth jam of Take U Away and the more crunchy, minimal bounce of Logarithm, we find Ewan in pure dance floor mode on the A side. Flipping over we’re treated to Chika Kozo, a rolling groove with an emotive vibe, perfect for a late-night drive through the urban metropolis. Closing out
the EP things get more intimate and introspective on title track Perfect Strangers. Layers of warm pads build upon a punchy house groove whilst a filtered Moog bassline keeps the momentum and brings the low-end energy to the track. Overall Ewan’s sound melds together many sonic worlds, bringing to mind early Morgan Geist, elements of Warren ‘Hanna’ Harris, Black Dog, ART and early 90’s IDM, all put together with love and skill by a master of his trade. Enjoy

With such a raft of quality music coming across the Summer from NuNorthern Soul, we thought we would put together an EP of some of the tracks featuring across the upcoming months...

We have taken our favourite tracks from various digital releases and present them on one vinyl 12" EP On the A side we take Nick J Smith's 'Waves Take Hold' from the Waves Take Control EP'
'Waves Take Hold', is a kaleidoscopic, life-affirming exercise in late 1980's style Italian Dream House, that's so warm and rush-inducing that it's likely to get the hairs on the back of your neck standing to attention.
Full of ricocheting drum machine hits, sun-bright lead lines, elongated chords and rich bass, it sounds like it was tailor-made to soundtrack sunrise in Rimini...

Bonnie & Klein 'Ocean Leap' taken from the Ocean Leap EP
There's a deeper and dreamier feel to the 'Ocean Leap' track, whose bubbly melodic motifs and synthesizer panpipe flourishes offer subtle nods towards 1980's Greek new age electronic composers such as Vangelis Katsoulis amd Dimitris Petsatakis.
Bonnie & Klein's synthesizer-heavy melodiousness comes accompanied by dub disco strength bass and undulating, off-kilter drums, but retains the rush-inducing bliss associated with the pioneering work of their Greek predecessors.

AA is given up to the 10 minute + track from Mirage: 'Endless Ocean' taken from their Reflections of the Sun EP.

'Endless Ocean' is a slowly building masterpiece. After a hushed, atmospheric opening, the track bubbles away on waves of hazy bongo beats, lapping water sounds and seductive chords before rushing skywards in a swarming swirl of trance-style synthesizer lead lines, echoing electronics and picturesque piano motifs.

Re-issue of legendary Minimal Electronic Vinyl compilation feat. Stephen Emmer, Van Kaye & Ignit, Nine Circles, Smalts, Cargo Cultus & Genetic Factor

Factory Benelux presents a new deluxe 2xCD edition of Sparks In A Dark Room, the second studio album by Dutch electronic group Minny Pops, originally
released by Factory Benelux in May 1982.
Formed in Amsterdam in 1978 by vocalist Wally Van Middendorp, Minny Pops took their name from the primitive Korg drum machine which propelled their austere, post-punk rhythms and provocative live performances. An early association with Factory Records in Manchester saw the band work with producer Martin Hannett, share stages with Joy Division and New Order, and become the first Dutch band to record a BBC radio session for John Peel.
Sparks In A Dark Room is their second studio album, originally issued on Factory Benelux in May 1982. Self-produced by the group, the album was recorded without a guitarist and as a result sounded unusually polished and layered, its smooth sequencers and motorik rhythms often redolent of Moroder, Kraftwerk and Cabaret Voltaire. Bonus tracks include the non-album singles Time and Een Kus, as well as demo tracks and an EP by instrumental splinter project Smalts.
This new edition on FBN also adds a bonus disc featuring an entire live performance (13 tracks), recorded at Amsterdam Melkweg on 7 April 2012 on their 30th anniversary tour, with original members Wally Van Middendorp, Wim Dekker and Pieter Mulder joined by new guitarist Mark Ritsema.
Tracklist:

1. Mountain
2. A Feeling
3. Tracking
4. Crack
5. Vital
6. Blue Roses
7. Wong
8. Experience
9. Dream
10. Night Visit
11. Trance
12. Time
13. Lights
14. Een Kus
15. Son
16. Secret Story (demo)
17. Schitterende Ogen (demo)
18. Time (demo)
20. Werktitel #7
21. Werktitel #5
22. Werktitel #1
23. Werktitel #8

1. Kogel
2. Blue Roses
3. Tracking
4. Vital
5. Goddess
6. Dolphins Spurt
7. Wong
8. Night Visit
9. Secret Story
10. Time
11. Trance
12. Mental
13. Son

Versalife aka Boris Bunnik is one of the most respected producers in electro, recording for many of the truly great Dutch labels including Delsin, Clone, Rush Hour and Frustrated Funk as well as cutting edge imprints like Brokntoys, Shipwreck and Transcendent. Bunnik has toured Versalife live extensively across the world, as recently featured on Boiler Room. Bunnik now presents his debut release for 20/20 Vision as the label continues it's path into the world of pure electronic music. 'Machine Life' immediately stood out as one of those rare killer club cuts that works it's way into a wide range of DJ boxes, simple but massively effective. 'M05' returns to more classic sounding Versalife electro with complex layers of synths, strings and analogue squelch all held together by a solid bass hook. On the flip side Bunnik shows off his pedigree in producing Detroit influenced string laden beautiful music with the EP rounded off by 'Axion', a heavier trip to the dark side.

ARTIFICIAL MONUMENTS was an all-stars dark minimal / synthpop project from Copenhagen, originally formed by PATRICK RINGSBORG (MOTH, CHAINSAW EATERS, LITTLE BOY LOST, ECHO PEOPLE ET AL.) JOHANNAH JØRGENSEN (METRO CULT) AND KIM WOLF ANDERSEN (MOTH, CHAINSAW EATERS ET AL.). They were inspired by bands like Iron Curtain, Yazoo, Neon Judgement, Eleven Pond and Turquoise Days. Active between 2013 and 2015 only, the group disbanded due to Johanna’s health problems, leaving their debut album ‘Illusions of Identity’ on the cutting board. But it was posthumously finished over the next four years with the help of an incredible array of fellow artists from the new wave of post punk, who contributed their talents to the completion of the album: SALLY DIGE, ZOSIA HOŁUBOWSKA (MALA HERBA, PRISON, HÄNDE), INA NOIRE & LISA LØEBEKKEN (TECHNE), SOFIE JACOBI, CECILIA WÖRLÉN (PRISON) AND CHRISTOFFER BAGGE (METRO CULT, TOTEM).

ILLUSIONS OF IDENTITY is an awesome minimal synth pop album, as simple as that. Being crafted with the help of so many skillful people who spilled their talents into the melting pot, nothing but a masterpiece could come out of this project. We are proud to finally bring it to you on a limited, hand numbered, TRANSLUCENT BLUE VINYL EDITION OF 275 COPIES, housed in a matt finish sleeve with printed inner sleeve (lyrics and credits) and including a download code. The download features two additional demo versions not on the vinyl.

Exactly two years after their latest Front Teeth LP, the Zürich-based duo VEIL OF LIGHT is back with a new album called Inflict which will be out May 10 on Avant! Records. This is their fourth full-length and their industrial-tinged synth-based post-punk keeps on getting better, making Inflict their strongest release to date. In these eight new cuts you'll hear how their sound has gotten heavier, bulkier, even more beat-driven. Tracks like So Hard and Holy Wars display drums pounding like noises from a rusty machinery, synths on You Done Me Wrong and Fact2019 they’re so sharp they can slice through your skin, Europe and Animal Instinct feature melodies from the abandoned industrial district of your ghost town. We could go on but you are probably aware of what these two Swiss are all about, and if you don’t you'll know the Veil Of Light when you face it. Artwork by Basel-based visual artist and photographer Samuel Trümpy. Limited edition LP on orange vinyl!

Italian electronic music mastermind ABYSSY and the Marseille underground hero DONARRA, share for the ALLEY VERSION's 4th release the split E.P. "CLOSE".

ABYSSY aka Mayo Soulomon has, over the years, released records of great interest for Mathematics, New Interplanetary Melodies and many other labels, marked by Detroit and Chicago influences reworked in his personal complex cut.
DONARRA comes to ALLEY VERSION after two beautiful E.P. for Skylax Records and La Chinerie, and recently spotted with its synth-dark-industrial-punk moniker Cardinal & Nun, on L.I.E.S.

The opening ABYSSY's "Close To Me", an obscure rough track totally jacked with the legendary rhythm sampler E-MU SP1200, is an instant cult.
In the following "Lower Michigan Ave", a hypnotic dark plot of analog synthesizers runs on a leftfield rhythm cut, while a whiny female voice condenses the air.

First track of DONARRA's side, "Nostalgie Futuriste", is a surreal sound voyage where are merged Chicago House and Zen atmospheres.
In the culminating Detroit style banger "Rivières Lumineuses", the trippy movements of percussions and synthetic melodies are pure magic.

Exclusively on limited 12" vinyl.

Robotiko Rejekto was created in Frankfurt am Main in 1987 by RaHen and Talla 2XLC. Both musicians already worked together in the early 80's on projects like Axodry, Moskwa TV and other incarnations as part of the "Sound of Frankfurt" scene.

With the mega success of the first single “Rejekto” (1987) released by Techno Drome International / ZYX Records, RaHen and Talla 2XLC were seamlessly able to live up to the earlier success with Axodry. They used on this track some lyrics in Romanian telling a fictional short story about two Romanian musicians: Dumitru Constantin and Andrei Vasile. This was followed by other two top chart singles: "Umsturz Jetzt!" (1988) and “Confusion" (1989). Shortly after, Talla 2XLC quit to concentrate on other projects, however some also in cooperation with RaHen.

For a short period of time, Kurt Ader joined the project and with RaHen produced the album "Cyper Space" (1990) including some new songs together with the previous singles. The misspelling of the album title is attributed to a mistake of the label ZYX Records. “Injection” (1990) and "Hangar 18” (1991) were the chosen singles published to support this album. A couple of other singles, “Density / Pure Control" and “Technology” (1992) came next but unfortunately with not a major success following by a hiatus of the band.

After a long pause, Robotiko Rejekto made a comeback in 2012 to release a new album. Currently formed by Ralf Henrich (aka RaHen) and Ivo Draganac (aka Marco Drago), they continue to work and touring intensely.

"Communication 87-92” is a special selection of classic tracks and remixes from those golden years. Limited edition of 500 copies on double vinyl, gatefold sleeve and exclusive sticker.

In support of their forthcoming Bob Moog documentary Electronic Voyager, Waveshaper Media have produced a compilation LP of Moog recordings from the 1960s. The first compilation of its kind, Electronic Voyages: Early Moog recordings 1964-1969 contains tracks by Robert Arthur Moog, Herbert Deutsch, Joel Chadabe, Lothar and the Hand People, Intersystems, Ruth White, Max Brand, and Paul Earls. All of these tracks, released here on vinyl in an edition of 1000 copies, have been scarcely heard and difficult to track down, with all but three of them previously unreleased on vinyl.

Bypassing the Moog synthesizer’s backseat appearance on key pop recordings by the likes of the Beatles, the Doors, and the Beach Boys, Electronic Voyages aims to highlight the diverse approach of 1960s musicians and composers who adopted the Moog as their primary instrument; these recordings all feature the Moog synthesizer front and centre. Beginning with an “audio letter” (The Abominatron) from Bob Moog to his musician-muse Herbert Deutsch, demonstrating some of the first Moog synthesizer prototype’s capabilities, Electronic Voyages veers from avant-garde and electronic soundscapes, to psychedelic madness and summer-of-love pop. In the 1960s, the Moog synthesizer was a new, groundbreaking instrument, and its use was completely uncharted territory. The pioneering use of the Moog on all of these recordings sounds fresh today - you can sense the wide-eyed exploratory delight unfolding, and the disparate results range from endearingly naive (Lothar and the Hand People, Paul Earls) to downright eerie (Ruth White, Intersystems).

The musicians and composers behind these Electronic Voyages may have been among the first to adopt Moog synthesizers, but the fact that they so readily found within them expressivity, heart, and a means to translate their wondrous sense of discovery, speaks far more to Bob Moog’s visionary invention and enduring legacy.

Synth based ambient creations from the mid 80s by Liquid Liquid's Dennis Young - 1-sided, 3 track 12" EP on James Duncan's Innermoods imprint


"PORTASTUDIO AMBIENT TAPES" is a 1-sided, 3 track 12" EP. When seminal NYC band LIQUID LIQUID wound down in the mid 80s, the band’s marimba player and multi instrumentalist DENNIS YOUNG set up shop in his home studio, based around a Tascam Portastudio multitrack tape recorder and created a sublime array of synth based ambient creations. Now many years later JAMES DUNCAN’s INNERMOODS imprint releases 3 of these compositions on vinyl for the first (and ONLY!) time

This third release on City Volts Records from the international producer and DJ collective sees West Loop Chicago channelling their inner Herbie Hancock and The Headhunters for this heavily jazz-fusion influenced record. The A-Side features 'The Serpent', a frantic analogue synth dance floor gem with its Mini Moog and Oberheim OB-6 parts leading the charge, a track very much inspired by Herbie's 'Chameleon' and Barry Miles' 'Magic Theater' from 1975, a Gilles Peterson/Dingwalls standard. The B-side includes 'Divinity', a more soulful affair with its delicious Fender Rhodes chords and atmospheric piano solos, which furthermore highlights the high level of musicianship contained within the 12". Both tracks also feature their respective bonus beats versions with 'Serpentine Bonus Beats' and 'Divine Bonus Beats' providing the rhythm tracks for both.