Beats Vinyl New Releases - News

Ghost Ships, the label, will be a non expected music mirage that its planned to appear and then be vanished . This is the first release out of five, with a limited run of only 100 copies, each one of the releases will accompanied with a series of artworks in which we interpret as space figures created by artist Meesh Nah. The first cut is made by Butch Sundance and Joone, sticking to a just hardware and analogue process manifesto on the X side 'Star Meltdown' hypnotic and atmospheric, arpeggiated melodies driving the track from start to end with a solid beat. Y side 'Planet X' house flavoured track with distinctive synth stabs, percussion and piano breakdown.

Korpus 9 return with another powerful EP, this time from Tom Hades. The Belgium based artist is a driving force in the scene and has elapsed on all the biggest labels from ELEVATE to Drumcode.

Here he kicks off with Acrab, a blistering number with deft synths and floating drums that really get you in a trance. Biham then gets more intense, with layer upon layer of icy synth and bright lights emitting from the pads in the background. Chara then shows off busy drum work, with organic hits and suspense filled grooves that take you on a real adventure, then Dubhe hits you over the head with more blistering drums and warm bass. It's a fantastic way to close an essential EP.

'For the 9th Marionette, Kilchhofer and Anklin release their collaboration record Moto Perpetuo. Michael Anklin is a drummer and percussionist based in Switzerland. He's involved in various bands, collaborations and interdisciplinary projects. Anklin has previously appeared on a few recordings from Kilchhofer's Album The Book Room. Kilchhofer uses his main instrument - the modular synth - in a more electroacoustic manner, where he derives and processes voltages from Anklin's playing.

The album title describes the fascinating idea (yet impossible reality) of a perpetual motion - where no energy is lost yet energy is constantly being created, an endless music, yet far away from generic ambient or minimal music. Anklin's live drumming influences delicate feedback patches on Kilchhofer's synth, where dry and transient heavy percussion and synthesizer sounds erupt into a feral electroacoustic instrument.

A fluid concept of time where the Rhythmic Pulse constantly shifts is at the heart of the record. The idea was to create an instrument where acoustics and electronics are interconnected and dependent on each other. The smallest disturbance could sway the entire system out of order. This idea of a circular motion was at the center of the recording process and is also reflected in the artwork which resembles a topographical view of a closed natural habitat.

Kilchhofer and Anklin draw inspiration mainly from their rural surroundings and mountain landscapes where natural overtones and stumbling rhythms navigate through high plateaus and velds to stony ravines and wooden trails - on a never ending quest for an "ur-klang'; a primordial, ancestral music.'

Esencia is proud to present Forgotten Ones, the new album from London based quintet Culross Close. The album opens with 'Fractured', a cosmic musing carried delicately by electric piano and decorated with a synthesized dalliance. The album then cruises into 'Forgotten Ones', a spiritual made potent by their choral-esque vocals by far their most accomplished piece to date.

'Acceptance' finds the quintet in familiar hip-hop territory, carving out a top tier groove with a recurring piano motif of the highest order. Their vocals, this time more chant than choral makes for a brilliant 5-minute mantra.

'Mood' is a stark contrast to anything else on the album, an acidic and rugged illustration of the group's present state. 'The Tiniest Lights Still Shine' is a syncopated excursion in 5/4 time. With an electrifying percussion solo, this will be the song that finds its way onto the dance-floor. 'Healing' is a percussion heavy journey, draped in synthesizers and style, embodying elements of 70's fusion and bossa-nova, a perfect closer to the album.

1 x LP Full Colour Sleeve, shrinkwrapped

"it's Been One Of The 1st Nigerian Lps To Land In Our Collection Some Years Ago, Sort Of Late 80's Nigerian (edo) Highlife Oddity. Pretty Obscure.. Full With Quirky Synths And Groovy Drum Programming, The Track "enothiomwan" Is The Highlight With Its Catchy Horns, Funky Synth Hits, Slap-bass And Crazily Deep Vocals, Surely One Of Our All Time Favourite And Most Selected During Our Parties.
After Weeks And Weeks Of Deep Research In Nigeria During Summer 2018 We Finally Found And Met, In Benin City, Mr. Odomore Who Introduced Us To All The Members Of The Band And To The Producer Of The Lp. We Discovered That yetigbe - The Birth Of A Child Is His 1st Lp Made Back In 1988 And That, At The Time, Was Pressed In A Very Limited Edition And Is Still Nowdays Highly Unkown And Hard To Find!"

Lichtenberg: Name Of A District In East Berlin And Johannes Albert's Second Lp. Ambient Structures Over New Wave Rhythms Via Ebm To Current Rave Revivals Blend A Sense Of Multidisciplinary Art Into One Medium. After The Sublime And Welcoming Vibes Of "phony Emotions We Wander Into A Bit Of Indie Dance Room When Listening To The Meaty Bass Tones Of "hooligan . Renowned Photographer Gundula Schulze Eldowy (mostly Known For Her Work berlin On A Dog's Night ) Lends Her Voice To The Dark Mood Of "milieu Speaking About Life In The City In The 1980s. We Find A Rare Moment Of Happiness Dancing To wing House With A Positive Arp Baseline. Long Time Producer-pal Iron Curtis Comes Into The Mix Now For The Uptempo Acid Tune "built-in Acceptance . Bringing Back The Vast, Massive Drop In E-music, Sure To Be A Hit At Festivals This Summer. Carrying On With chestnut Poetry An Ode To 90s Rave With A Touch Of Ebm. Snare Rolls Included. "dong Xuan Feeds The Energy Of The Infamous Vietnamese Center Based In The Albums Namesake By Evoking A Shattered Vocal Sample Over Lofty Pads With An Engaging Acid Bassline, However Its Mostly A Follow-up To Johannes' 2016 Anthem "all Things Mind Altering . Rounding Up Things With The Majestic New Age Sound Of "cell . Another Collaboration This Time With Moritz Heppner, Aka "monosoul . The Producer Reveals His Darker Side On Lichtenberg And Slows Down. Ancient Drum Machines And Synthesizers However Play A Main Role. Throughout This Whole Journey Johannes Still Maintains His House Music Foundation And The Album Embodies Genre Fluid Styles That Depict The Motions Of The Area. Features Come Vast And Great: Gundula Schulze Eldowy, Iron Curtis & Moritz Heppner Add To The Fold With Their Musical Stylings.

An LP of tracks, taken from various cassette releases, by Belgian synthwave luminaries The Misz (Jan Van den Broeke and Dries Dekocker)! 600 copies on 180 grams vinyl.

The Misz formed in Gent in 1983 by Jan Van den Broeke and Dries Dekocker at a time when they had both just relocated from the country. They lived on the same street and collaborated freely with the limited equipment they had, which always centered around the Fostex 250 4-track tape recorder. They used an unknown monophonic synthesizer, casio synths, roland drum machines, hand drums and guitars through effects pedals, improvising with their voices and often and included friends for additional voices and sounds. They captured these sonic experiments and sometimes released them on cassette in editions of 100-200. They were also included on numerous cassette compilations throughout the 1980s on labels like Mad In Belgium, The Cassette Factory, 3RIO Tapes, Minimart production, Fraction Studio, Cauchy Productions, Home Product, R.R. products, ZNS Tapes, and Body Records. They described themselves as young, immature and bit strange yet totally bold and fearless. They sang about what surrounded them from world politics and environmental catastrophes to love and lust. The songs on The Lonely Crowd span from various cassette releases and have been remastered from their original reel to reel tapes.

For the label's second release, Amsterdam imprint yeyeh has brought together two musicians from vastly different backgrounds to celebrate the far-sighted musical potential of the Theremin on the 100-year anniversary of the instrument's invention.

'Waves' is the product of two weeks of studio collaborations between award-winning composer and Theremin soloist Carolina Eyck and Eversines, an electronic music producer who has previously released music on yeyeh's sister label ninih. It builds on Eyck's work composing for 'Theremin & Voice', with both artists playing a part in processing, modulating, layering and arranging vocal and Theremin sounds to create six breathtaking electronic compositions.

Varied in tone and execution, the album's six tracks are arguably closer to instrumental pop than academic electronic music. Some tracks bear comparison to the cyclical melodic movements associated with the greats of American minimalism, while others recall the alien, otherworldly futurism of the Radiophonic Workshop, classic ambient music and the sun-bright bliss of early '90s IDM. Yet despite these possible perceived parallels, 'Waves' sits on its own as a stunning work crafted from the simplest of musical elements.

'it's a phantasmagoric full EP album! A high-end bedroom studio offering, with tangled sounds and colours from the synthesized and digitized world.'
- Give It A Spin

'Evokes a super natural world of beauty and melancholy.'
- Odiotropik Discos

CATHEDRAL ECHO is Lefteris Tsourapis' personal neo-psych project from ATHENS, Greece. Lefteris started recording music at an early age, until ultimately releasing his music under the name CATHEDRAL ECHO in 2017, which culminated in the project's first performance "an evening of experimental sitar music" paying tribute to Spacemen 3 and La Monte Young.

Despite sounding like an 80's cassette only wave outfit La Stèle des Pleurs is a contemporary band from the north parisian suburbs.

They're mostly inspired by the underground tape scene of this period and use a 100% analogue set from synth and drums machines to tape recorders according to their unkwnown masters.

The 7 tracks of this mini-LP are only instrumentals somewhere between the melancholia of Enno Velthuys and the heady sound of Stratis. Their music seems untouched by contemporary world and influences, recorded in order to compose their own enigmatic but familiar universe.

Gloomy landscapes and feelings may appear but surrounded by a glimpse of hope.

Limited to 300 copies.

"Made of Industrial tones and decadent rhythm this MIND CLEAR 011 produced by Anthem is pushing at his most extreme layers future dub / trap and black metal, with an hypnotic modular synthesis for the wildest waves in our ears."

Das technisch versierte Naturtalent Leafcutter John (Planet Mu, Staubgold)präsentiert sich mit seinem siebten Album auf Border Community in Höchstform. "Yes! Come Parade With Us" ist ein kleines, perfektes, freudiges, utopisches Folk-Electronica-Kunstwerk, erstellt aus mehrschichtigen, gefühlvoll-modularen Synths, gelegentlichen Drum-Features (von Tom Skinner/Hello Skinny und Sebastian Rochford/Polar Bear) und Field Recordings, aufgenommen im Sommer 2017 auf einem 60-Meilen-Spaziergang entlang der Norfolk-Küste. Limitierte Formate.

SDH (Semiotics Department of Heteronyms) is the new project of two key figures of the synth-wave/industrial scene of Barcelona. Andrea P. Latorre and Sergi Algiz, founders of the Cønjuntø Vacíø label and also in the post-punk band Wind Atlas, unveil a new act more oriented towards pop music. SDH is change, alteration, distortion, metamorphosis. Their synth-pop songs, sprinkled with EBM and techno, are mysterious, obtuse and suggestive. The project seems to revolve around the idea of fiction. What is the language of feigned personalities What is fiction An individual is one and another, is liquid. It is physical. Incarnating someone is doing it in a corporeal way: making it flesh. Conceive: everything is real: reality does not exist. How is a fiction embodied They have already supported artists such as Marie Davidson and Merchandise and performed at the Swedish festival Kalabalik På Tyrolen, one of the reference festivals of the darkwave scene.

Rotterdam-based Pole, Richu M, has been impressing with his scuzzy, eclectic output on Young Adults and Astropical that mixes dusty samples with hazy synths, ranging from wonky slo-mo house grooves to jazzy downtempo cuts.

He brings his colourful patchworks of sound to Monologues for a beautiful mini-album, complete with superb artwork from the man himself.

Label boss G. Markus aka Ben Gomori steps up to give 'Sorry, I'm Not A DJ' a kick up the booty with a garage house flex.

After two private press punk singles, an indie pop LP on Anti Fade Records, we bring you an Italo Disco inspired LP from Suburban Boy Jake 'Alien Nosejob' Robertson.
Jake spent six months bedridden with crippling psoriatic arthritis, watching the Vivien Vee 'Higher' video on YouTube, mimicking the rhythms, the melody and wishing he could mimic the dance moves.
Two songs about love and two songs about hyper-intelligent extra-terrestrial beings.
This record is a trend-punk poison.

Soon after releasing their debut albums - Baltic Beat' and 'Music For Candy Shops' - and realizing similar interests and traits in their solo music, Zakrevska and KruczyÅ- ski sketched out a plan for an album and live performance. The record is to a large extent fashioned after the show, with most of the tracks performed live and edited down. 'Pulses' is a result of hours spent in studio with a minimal set-up of Prophet '08, Moog Sub 37 and Korg Minilogue; The work present their mutual attraction to minimal synth, repetitive arpeggios and drone music. A perfect blend of poly-rhythmic patterns, ambient textures and beat-less acid moments by one of the most fresh and unique collaborations!

'As an artist it's essential to be connected to your heart, to feel what it has to say. I felt my heart telling me in the past two years to connect to the roots of trance of which I grew up on. This path has led me to find my inner child - his passion for music before he became a DJ producer, his desire to consume pure music without fear or expectation of what people are expecting him to create. I've walked with this child together day after day into the studio, listening to his ideas, translating them into music created by a 35-year-old man. This was the creation process of my 3rd studio album (2nd as Captain Hook) 'Origin'.

Although I grew up in the psytrance culture and genre, influences from techno and bass music played a big role in the formation of my sound. The synthesis of these styles marked the beginning of something new, and the origin of the deep hypnotic progressive sound that is now at the core of my creation. Following my heart to where it was leading me was not always easy, since modern psytrance seems to be pointing producers towards very different soundscape directions. But believing in the path helped me to stay on it despite any doubts - and staying true to my sound allowed me to create my music with sincerity, serenity, and bliss. This internal journey has made it possible to reconnect with this genre all over again, adding a new perspective to its beautiful spectrum, and to myself.

I am very happy to present to you my upcoming album 'Origin', which you can now order as a truly unique 180g, 33RPM triple gatefold vinyl. The album presents 9 new tracks (track 1 has an added intro to welcome you into the Origin sound).' Captain Hook

Long overdue reissue of this Molly Nilsson early release (her fourth), now repackaged and reissued via Night School / DSA.
'I hope you die by my side, the two of us at the exact same time, I hope we die not long from now, the two of us at the exact same time'
By the time Molly Nilsson released History, she had already established a fledgling cult status built on homemade YouTube videos and home-burnt Cdrs. Writing from a distance, it's clear that History is the first classic album in her canon and arguably a classic of the 21st Century underground music panorama. While the methodology on
History hadn't changed from Nilsson's previous 3 albums - it was recorded solo at The Lighthouse, Nilsson's home studio based on a Berlin crossroads - on this record the songwriting reached a new peak and the
emotional scythe cut deeper. Here, Nilsson managed to combine a cosmic, outward looking perspective with an intimate knowledge of the human condition and its place in these turbulent times. In truth, no other songwriter has excavated the modern psyche so clearly and perfectly.

The tracklist to Nilsson's fourth album reads as an early greatest hits for Molly Nilsson followers and also serves as the perfect entry point to a whole world the artist has been building for the last 10 years. In Real Life crystalises the millenial obsession with relationships built online, with a generation paying for the baby boomer's excesses with their anxiety towards the harshness of every day life. It's a call to arms for a generation who fell in love on Skype. On I Hope You Die, one of Molly Nilsson's most iconic songs, the songwriter flips the song title into a tale of doomed romance, a relationship based on miscommunications and the thrill of the other. It's also one of the most heartfelt songs full of pathos written by anyone, an ode to obsession. Doomed romance, life lived on the flipside of day and the role of the outsider in society are themes that crop up through-out History. On Bottles Of Tomorrow, the narrator is sweeping up, in love with the night and examining the remains a society
leaves behind.
On City Of Atlantis, Nilsson veers from the plaintive balladry she had begun to make her name with, embracing trance-like synth and dance music details to create an unlikely anthem using the mythological city as a means to comment on the patriarchal rendering of history by power. With by now trademark panache, she turns complicated subject matter into a glorious song that transforms into an ecstatic pop moment.
Hotel Home, another Nilsson classic, paints loneliness not as a debilitating anxiety, but as a powerful tool that propels the artist forward through her travels. It's a song that hints at an endearing self-awareness also; the writer is never at home, living life on the road, content that 'the world will find me when the time is ripe.'

Long overdue reissue of this Molly Nilsson early release (her fourth), now repackaged and reissued via Night School / DSA.
'I hope you die by my side, the two of us at the exact same time, I hope we die not long from now, the two of us at the exact same time'
By the time Molly Nilsson released History, she had already established a fledgling cult status built on homemade YouTube videos and home-burnt Cdrs. Writing from a distance, it's clear that History is the first classic album in her canon and arguably a classic of the 21st Century underground music panorama. While the methodology on
History hadn't changed from Nilsson's previous 3 albums - it was recorded solo at The Lighthouse, Nilsson's home studio based on a Berlin crossroads - on this record the songwriting reached a new peak and the
emotional scythe cut deeper. Here, Nilsson managed to combine a cosmic, outward looking perspective with an intimate knowledge of the human condition and its place in these turbulent times. In truth, no other songwriter has excavated the modern psyche so clearly and perfectly.

The tracklist to Nilsson's fourth album reads as an early greatest hits for Molly Nilsson followers and also serves as the perfect entry point to a whole world the artist has been building for the last 10 years. In Real Life crystalises the millenial obsession with relationships built online, with a generation paying for the baby boomer's excesses with their anxiety towards the harshness of every day life. It's a call to arms for a generation who fell in love on Skype. On I Hope You Die, one of Molly Nilsson's most iconic songs, the songwriter flips the song title into a tale of doomed romance, a relationship based on miscommunications and the thrill of the other. It's also one of the most heartfelt songs full of pathos written by anyone, an ode to obsession. Doomed romance, life lived on the flipside of day and the role of the outsider in society are themes that crop up through-out History. On Bottles Of Tomorrow, the narrator is sweeping up, in love with the night and examining the remains a society
leaves behind.
On City Of Atlantis, Nilsson veers from the plaintive balladry she had begun to make her name with, embracing trance-like synth and dance music details to create an unlikely anthem using the mythological city as a means to comment on the patriarchal rendering of history by power. With by now trademark panache, she turns complicated subject matter into a glorious song that transforms into an ecstatic pop moment.
Hotel Home, another Nilsson classic, paints loneliness not as a debilitating anxiety, but as a powerful tool that propels the artist forward through her travels. It's a song that hints at an endearing self-awareness also; the writer is never at home, living life on the road, content that 'the world will find me when the time is ripe.'

British duo, Wayward have enjoyed a compelling 2018 establishing themselves as respected producers with a trio of celebrated EP's including their 12' debuts on both Fort Romeau's Cin Cin Records and Australian based label Beats Of No Nation. They open 2019 with a return to the rapidly ascending Silver Bear Recordings. This time around, they perk up with the stunning Raval EP written whilst living between Barcelona and London throughout the summer. Featuring two originals from the London duo as well as remixes from woman-of-the-moment Nightwave, plus Shall Not Fade and Phonica Records affiliate, Earth Trax.

The Suara whirlwind whips its way back through town once again, this time with one of Croatia's finest techno producers, Insolate causing the storm. Three expertly executed and explosive techno workouts with standout remixes from Jay Clarke and Distant Echoes.

'Flare' opens up the A side with an incessant powerplay that bases itself around a relentless siren and rapid-fire bass with ethereal sweeps that blend through the mix. It's a no-nonsense weapon that causes a stir from beginning to end. Next, 'Barking Up The Wrong Tree' keeps the energy at fever pitch with an unstoppable series of synth zaps that fuse a ferocity into the track. Cutting hats backed by big room tuned kicks make this a pulsating stomper.

Jay Clarke rounds off the A side with a thumping drum workout remix of 'Barking Up The Wrong Tree'. Slick programming comprising of uncompromising toms and hardy hats mix with dystopian screeches and synths making this a fierce, trance-inducing groove destined to move bodies.

Flip it over to find 'Freedom From Disturbance' where percussive and acid-laden synth sequences meld with swelling top lines that add an air of unceasing suspense to the track. Closing out the EP Distant Echoes lets loose an extra-terrestrial version of 'Freedom From Disturbance', filled to the breaking point with mind bending electrical static sounds that combine with panning spectral echoes and those filtered acid lines.

"Stroom's valentine special for 2019. "Lovely" Electro / Wave from Venice, Italy (1981-1984)

It's been a long time coming but we are extremely excited to share with you the debut release from Sydney's newest imprint, Pure Space. A new venture from the beloved radio show hosted by Andy Garvey, and produced by Mija Healey that has broadcast weekly on Sydney's FBi Radio for over two years. The label will focus on Australian music both for home listening and that made for the club.

Coming into orbit this March, the first part in an ongoing series of VA records. Kicking off the A side is Daze, who has stepped out in a new direction delivering 'Advanced Realty'. A driving techno burner with dark overtones unlike any of his previous productions. Completing the A side is Melbourne's Reptant, bringing you smoked out electro with hypnotic synths and trance-inducing pads on 'Microstructure'.

Flipping over to the B-side we find emerging Sydney producer Point Guard with 'The Xhase'. A subtly staunch club weapon that comes as a melodic synthscape complete with broken beats and a rounded bassline. Completing the release, E Davd creates a deeply immersive aquatic world on 'Wavestation (Nu Cycle Mix)'.

Both A-sides feature in mixes by Andy Garvey that have been supported by Resident Advisor as Mix of the Day.

DJ Rocca returns to Wonder Stories with a stunning EP that only the Italian legend could produce. Steeped in his style, the eclectic producer submits three original tracks dedicated to his favourite types of pastas.

Known for his collaborations with Dimitri From Paris, and Daniele Baldelli, Rocca's playful energy and original song writing shines through. On remix duty is the elusive DJ Fett Burger who combines 'Spaghetti' and 'Fusilli' into a chaotic amalgamation of stabby synths and percussive drums.

'Spaghetti' is a left-field house tune with muted bass and eerie synth melodies. 90s house stabs and lo-fi broken beats amp up the track with sultry vocal lines accenting throughout. 'Fusilli' emerses the listener in a tribal futuristic landscape of a forgotten synthetic world. Think after hours of a blade runner rave. Rocca's studio prowess really shines here, as his analogue. synthesizer and drum machine collection are brought to the forefront.

'Penne' slows things down into a slow-mo funk disco-esque tune with sharp stabby synths and a growling bassline. Rocca, ever the multi-instrumentalist, let's his flute playing shine here, culminating in a seriously vibey aesthetic.

Opting for his pseudonym 'DJ Fett Birger', DJ Fett Burger combines both 'Spaghetti' & 'Fusilli' into a frantic and chaotic amalgamation of breaks and acid.The addition of an elusive vocal sample brings a mindset of late speed-induced warehouse raves.

DJ Support:

Harvey, Tornado Wallace, Poncartrain/ Whiskey Disco, George Evelyn/ Nightmares On Wax, I Cube, Deetron, Mano Le Tough, Joe Goddard/ Hot Chip, Tom Findlay/ Groove Armada, Jacques Renault

After the praise for Morning Worship, released back in 2015 on Royal Oak, Portuguese duo Sabre returns to releases with the EP "Fora de Turf", pointing directly towards the dance floor. There is in "Fora de Turf" a certain idea of transient existence as a series of car journeys cruising the night with no clear sense of direction, recalling the gradual disappearance of public space and loss of community. The weight of Kraut references such as Kraftwerk's Autobahn or Stratosfear by Tangerine Dream is somehow clear in its alignment with a 1995 Carl Craig who had just released Landcruising

On the A side, 'Condor Sense' and 'Sem Terra'. The first one is a banger built around broken beats and repetitive synth chords that guide us through the drone landscapes on the background, very clearly marked by the 808's rhythms. The second one is anchored in a broken kick and on a growing acid line, punctuated by warm chords and some sliced pads that reminds us of the pulsating heart of the city of Detroit.

On the B side, "Condor Senses" and "Driving Bruno" got some sort of a gliding character. "Condor Senses" is the only track on the EP to accept the classic four-on-the-floor to guide some dubby chords along a quieter landscape where organic and natural sounds lurk. Is it dawn arriving No. On the last track of the album, "Driving Bruno," Sabre get in the car and step on the throttle, full speed, on a bassline that could resemble some synthwave releases if synthwave had been lucky enough to be born a decade earlier and in the center of the state of Michigan.

Night Drive encourages you to enjoy the ride with your car windows down, and volume & bass at
the highest volume possible. Cruise the back roads during Sunset hours, or through some city
lights, as the album titled track 'Night Drive' gives you a warm & fuzzy funky feeling from head to
toe.
'Moving And Dancing' will surely make you move every limb in your body, and it's set to be a
dance floor jam in 2018 & beyond. This melodic groove & retrofit tempo features Brian Ellis on
guitar & Chini on Vocoder & production, setting the upbeat tone for the remaining tracks off the
album. 'Freak Out' features the iconic Linn Drum, who pulsates a heavy groov & Moog bass line
from start to finish. Crunchy vocoder lines, soft pads from the Oberheim, and Chini's experimental
live drumming at the end is sure to make your body move.
'High Life' brings an arrangement of synthesized vocal pads from the Sought-after Korg DVP-1,
which will make you feel like your head is in the clouds. A four on the floor disco tempo from the
LINN drum, a catchy delayed lead & dry bass line form a psychedelic tinge & feeling. This track sets
itself apart, and hopes to please music lovers everywhere. 'Waiting All Night' features Portugal's
underground Funk front man Sair, while Boy Dude (Adam Chini's brother) lays a funky bass line
over the top from start to finish. 'Wanna Do Ya' is a track strictly for the Break dancers & Poppers.
Layered vintage drum machines, Jonzun Crew sounding vocoder parts, and a dirty bass line, set an
aggressive mood for the second to last track. Chini takes you on a wild ride, while closing this track
out with his heartfelt lead solo. 'Clap Boogie' was meant for the 1970's. Chini drives the tune with a
loose style of live drumming, Stevie Wonder influenced clavinet work, dirty bass lines, Brazilian
instruments, live percussion, and more. Cruise in a low-rider & turn the volume up. This tune sets
the tone for what's to come from Chini's future production & style, and will leave you wanting more.

After a pleasing start to the New Year, 2 same night sell outs on lathe cut 45s and a single afternoon sell out of the recent Gabe Knox LP, Polytechnic Youth continue their relentless release schedule with 2 more awesome full lengths. In their own ways, both totally unique but very much befitting the tried and trusted synth / electronic PY blueprint.

First up is the fabulous 'Where comes the Dark' debut full length from shadowy, underground producer The Slow Engineer. 'An album of sculpted synthsonics and Eldritch electronics originally released on a limited run, blink and you'll miss it cassette which sold out in 24 hrs. Heavy on basslines, with driving rhythms and tweaked synthesisers, it's a record which openly acknowledges it's nod to horror scores and the work of the Radiophonic Workshop whilst pulling off something uniquely and freshly new, with an assembled array of wayward equipment stored at his Analogue Hades base.'

British horror actor Laurence R. Harvey adds suitably menacing narration in places, and across 10 fabulous tracks this is a richly, deliciously diverse electronic record which comes hugely recommended to fans of John Carpenter, not to mention label mates The Heartwood Institute and Dream Division.

A one time pressing of 300, destined to sell out pretty swiftly.....

- 180 GRAM AUDIOPHILE VINYL
- LIMITED EDITION OF 1.000 INDIVIDUALLY NUMBERED COPIES ON WHITE VINYL

'60s icon Marianne Faithfull released her commercial album Dangerous Acquaintances in 1981. The album, whose title refers to the French novel Les Liaisons Dangereuses contains amongst others the song 'For Beauty's Sake', which she co-wrote with Steve Winwood. She moved back to the mainstream rock territory and released some incredible tracks, like 'Truth, Bitter Truth' and 'So Sad'.

There are few people who can say they were discovered by The Rolling Stones, had a relationship with Mick Jagger, had several songs either inspired by or written about her, such as 'You Can't Always Get What You Want' and 'Wild Horses' by the Rolling Stones and 'Carrie Anne' by the Hollies. On top of that have overcome some serious drug addictions. And despite - or maybe thanks to the fact - that she has an impressive body of work, it's never quite clear what Ms Faithfull's roots are or what she's going to do next.

Dangerous Acquaintances is available as a limited edition of 1.000 individually numbered copies on white vinyl.

Chances are if you are reading this, you are probably already familiar with Dinosaur L's Go Bang' and danced countless times to Loose Joints' "It's All Over My Face". A prolific musician, Arthur Russell produced an abundant amount of recordings over the course of his career. Although a classically trained cellist, he released a number of successful underground dance hits under various monikers and collaborations. As a solo artist however, his inability to complete projects resulted in a limited amount of official releases, World of Echo (1986) being his only full-length solo effort to see release in his lifetime. After releasing a number of Club singles on labels like West End & Sire, Russell went on to form Sleeping Bag Records with Will Socolov as an outlet for a sound not as restrictive as his "disco" material. The initial concept was that Russell would provide the musical direction while Socolov handled the business side. The label had huge success early on with Class Action's Weekend' remixed by Larry Levan, and Russell's seminal Go Bang,' credited to Dinosaur L and remixed by Francois Kevorkian. Although Russell and Socolov shared a lot of musical common ground, the difference in vision began to show. Russell's avant-garde sensibilities and perfectionism were not compatible with an industry standard to release singles in quick succession, and his "work in progress" approach began to be financially draining, ultimately resulting in the dissolution of their partnership around 1983. With Arthur's departure, Sleeping Bag moved away from the experimental and towards a successful hip-hop route with the growing involvement of Kurtis Mantronik and leading to propel the careers of artists like Todd Terry, Just-Ice and EPMD. By the mid-80s, Russell's health began to deteriorate after contracting HIV. Although the business partnership did not work out, Socolov and Russell maintained their friendship. Aware of the time he had left, Russell reached out to Socolov to record what was to become Indian Ocean, his last release on Sleeping Bag and the last great collaboration between Arthur and his old friend Walter Gibbons. Unlike the rest of Russell's Dance collaborations, School Bell/Treehouse' is very intimate composition, putting to the forefront all the elements that defined him musically, with his own voice and cello as the anchors to a piece that keeps growing in intensity, melding the tribal rhythms of Mustafa Ahmed's conga with percussions that sound like distorted drum machines. There is a lot of beauty in this piece, with Peter Zummo's melancholic trombone lines and Arthur's keyboard playing. Adequately "mixed with love" by Walter Gibbons, "School Bell/Treehouse" really synthesizes the energy and soundscapes of Arthur's dancefloor.

Some of the most beloved music comes from heartbreak and loss. This 5-track EP by Honey Soundsystem's Be´zier was recorded in a vacant apartment unit in his grandmother's ('Amah') property in Tainan, Taiwan. Having to make the 15+ hour journey from SF to Taiwan multiple times in 2018, Be´zier set up shop in Amah's house surrounded by his live touring setup, a microphone, and the memories of loved ones recently passed. Away from his San Francisco analogue synth-based studio, Robert Yang (aka Be´zier) manipulated samples of his own vocals and mobile mono synths to tell his stories about returning home, honoring ancestry, and embrace life's hardest challenges. The result is a deeply personal release with track titles named after landmarks surrounding Amah's building, and songs both short and long, free of genre and tempo restrictions.

'World Crime League vol I' is available on a small number of audio cassette
tapes.

Listeners will find inside 14 tracks of 1980s tinged synth and drum machine
workouts.

World Crime League hail from various locations around the world. They first
appeared in 2008 and have since spent time honing their approach. Their first
outing consists of three albums each composed and recorded in a day.

'World Crime League vol I' is the first of these recordings.

Mahoney's voice vacillates smoothly between ghostly and falsetto, while McNany's arrangements and instrumentation bump, click, and whirr like a lovingly tuned Rube Goldberg jukebox. Not too surprising, perhaps, considering they named the band after a song by schizophrenic outsider favorite Daniel Johnston, and they cite Harry Nilsson and Roxy Music as influences. - VIBE

Restored from the original analogue tapes, presented on
HD audio.
Pressed on dark green vinyl.
Originally released in 1982, 'I, Assassin' is Gary Numan's
sixth studio album and fourth under his own name.
Combining fretless bass with heavy rock drumming,
Numan further refined his dark, sparse, funky-electro style,
mixing it with impenetrable, slurred vocals.
Numan recorded and wrote most of the music between
January and March 1982, following his infamous round
the-world trip in a light aircraft and a near-death crash
onto a British road while co-piloting a spiralling Cessna.
Three of the album's songs made it into the UK Top 20.
According to Numan, who was still only 24-years-old at the
time, 'the round-the-world flight, the plane crash, these
were big things that helped me shape a new opinion of


myself. Those experiences gave me a self-confidence, a
genuine strength that I hadn't had before.' Twenty years
later, the singer enthused, 'I still think it's one of the best
albums I've made.'
I, Assassin's heavily percussive approach led to several
tracks becoming unexpected intruders on American
dancefloors, notably the 12' single of 'Music For
Chameleons' and a specially remixed US version of 'White
Boys And Heroes'.
'I, Assassin' stands out as a record fiercely propelled by
powerful rhythms in songs laced with an earthy cynicism.
''I, Assassin' also utilizes the warped elasticity of fretless
bass lines underneath his customary monotone vocalising
and abstract lyricism. Highlighted by the upbeat synthetic
funk of 'We Take Mystery To Bed' & 'White Boys', 'I,
Assassin' is an in-depth examination of genuine dance
music roots.' - URB Magazine

In support of their forthcoming documentary 'Subotnick - Portrait of an Electronic Music Pioneer', Waveshaper Media — the same team behind the wildly-popular, acclaimed modular synthesizer documentary 'I Dream Of Wires' — presents a special reissue: a deluxe, 50th-anniversary-edition vinyl LP of Morton Subotnick's landmark 1967 debut electronic release, "Silver Apples of the Moon." Here are some of the features that make this 50th-anniversary-edition vinyl LP special:

All-new, full-colour gatefold jacket.
Vinyl edition is strictly limited to 1,000 copies.

Audio has been REMASTERED from the original, pre-mastered digital tape transfers. Unlike previous reissues of this LP (both vinyl and CD), remastered for Wergo's 1994 CD edition and narrowing the recording's stereo field, our reissue has been remastered maintaining the full stereo field of the original recording.
Brand new liner notes by Morton Subotnick.

The original, iconic liquid-light cover artwork by Tony Martin has been re-scanned for full-resolution clarity.
Featuring rarely-seen, newly-scanned photos of Morton Subotnick in his Bleecker Street studio where "Silver Apples..." was recorded.

Also includes a scan of the LP's original Nonesuch-edition liner notes

After the acclaimed double album on Organic Analogue, Aleks is back again with a Sci-Fi banger called 'ground control' on a very limited Deeptrax pressing. Heavenly septic breaks over big analogue rhythms, starting with the trippy rave vocals over massive beats, 'NYM' is delivering for the packed floors. One that should always stay in your bag!

DPTX 014 is limited to 300 copies all uniquely colored with a black label and black sleeves. Pressed at their own pressing plant Deepgrooves on 180gr vinyl!

Emotional Response is delighted to present elsewhere LVI. The 4th of soFa's compilation series, this double LP takes us to the darker side of the elsewhere ouvre, via another 12 artist / 12 track travelogue.

With certain future-retro feelings, this is club music for the open minded. An album that roams from dreamy ambient territories to rhythmic patterns - internationalism for the adventurous DJ.

Rusty slow-mo bangers and post-industrial synth-wave kidnap the listener to a dystopic and shady wasteland. Elements of ethnic folk, vintage vocoders and Gamelan samples all united on one homogeneous selection.

With artists now known to welcoming new brethren, this is an audio trip to leave reality behind. Exotic, hypnotic, tactile, trance-inducing meditations, washed down with a spoonful of magick.

The brilliant DOMENIQUE DUMONT's second long player for Antinote Paris. TIP!
.
August 2018: It's already been three years since Domenique Dumont made its entrance in the music world with a debut EP named Comme Ca. Despite a seemingly very quiet musical activity (the opening song to Antinote's compilation Five Years Of Loving Notes was the only song released by the band in 3 years) a few things have changed in-between these two summers: Domenique Dumont is no more the mysterious lone French producer we introduced last time but a Latvian duo, Arturs Liepins and Anete Stuce, which has been collaborating with 'an enigmatic French artist whose existence cannot be confirmed nor denied' (sorry, but it sounds like there's still some mystery in the air, and, again, we're just as clueless as you might be), the duo have been touring live and, most importantly, they kept on broadening their musical palette experimenting in a definitely pop field. Eight of these experiments are now tied together in Miniatures de Auto Rhythm.

The record probably begins where Comme Ca ended: frantic but light drum programing backbones a solar and slightly melancholic melody on Le Début De La Fin ('the beginning of the end'). However, the scope gets enlarged as soon as one reaches the second tune, Quasi Quasi, or Quand, on the flip side, perhaps the most overtly pop-rock oriented song on the record with its Mediterranean guitar and emotional bridge.

The road towards the apex of the record, Le Soleil Dans Le Monde, is a narrow and windy one, punctuated by toy instrumentals like Ono Mambo Haiku or the Donkey Kong Country-friendly Message Of The Diving Bird; however it never departs from its original tongue-in-cheek attitude. It's quite pleasant to imagine these eight 'miniatures' as field recordings from an enchanted world of pop music designed by some Pierre & Gilles' disciples - or are there
musical interpretations of half-mechanical, half-organic creations from a certain Otto Rhiesem (who might have inhabited the Locus Solus villa) There might be no definitive answers to this second set of riddles by Domenique Dumont.

Although Itta (Vocals, Harmonium) and Marqido (Analog Synthesizers) have been regular fixtures in Seoul's experimental music community for years, the vinyl release of Spiritual reflects the growing international recognition of their singular sound, described by The Wire as 'meditative synthesized vistas.' Spiritual certainly embodies the meditative element of their music, layering hypnotic modular synth with Indian harmonium drone and Itta's transcendental vocals. This is more than functional music for the metaphysically curious, however. Perhaps more than any of their previous releases, Spiritual offers an open accessibility, owing at least partly to the channeling of krautrock-influenced rhythms. Tracks like 'Luft' and 'Morgen Tempel' wouldn't sound out of place in any DJ set with kraut or psychedelic leanings, while 'Barabonda' and 'Dodeuri' dig deep into a more meditative place, serving as perfect expressions of the album's title and intent. Fans of Neu!, Kraftwerk, Laraaji or Klaus Schulze might find themselves in a comfortable yet unexplored place.

Spiritual was originally released in 2017 as a limited-edition cassette of 250 copies, produced in collaboration with Seendosi, an arts enterprise in Seoul Euljiro district, the city's heart of printing, packaging and electronics manufacturing. The cassette sold out within a year of its production, prompting Extra Noir, who had previously released Tengger's 'Breathe In, Breathe Out' on their Extra Noir Vol. 1 compilation, to propose reissuing Spiritual on vinyl. Working with Seendosi once again, the result is a beautifully produced piece of work. Closely attentive to the band's vision, the gatefold sleeve features rich landscape motifs that evoke Tengger's commitment to earthly travel and the less accessible places beyond. Pressed onto clear vinyl, the design of Spiritual has been carefully constructed to reflect the entirely unique music within: heavy ephemerality, dense transcendence and grounded wanderlust.

BELLADONNA GRAVE is a new solo project from L.A, California. Past august 2018 has been released 2 mindblowing albums at the same time, 'Behind Despair' and 'Spiritual Death'. This double EP put together the best of the best of those majestic works. At ORACULO RECORDS we strongly think that we are more than probably in front of the cold synth / electronic record of the year. It arrives on ultra deluxe 2×12 EP format and produced in a ONE-OFF truly ultra extra limited edition of 200 copies lacquered pressed on 180 gr. high quality solid black vinyl, including inner big postcard with tracklist and a POSTER of BELLADONNA GRAVE's scan/copy based art. All tracks have been specially remastered for LONG CUT vinyl by Eric Van Wonterghem.