Beats Vinyl New Releases - News

Multi-platinum selling Australian alt-electro pioneers Empire Of The Sun (Luke Steele & Nick Littlemore) celebrate the tenth anniversary of their multiple-ARIA-award winning debut album 'Walking On A Dream' with the release of a limited edition vinyl product on Captiol Records/EMI Music Australia, the first vinyl release of the album in over three years. The product includes:

A gatefold, 180 gram heavyweight vinyl of Walking On A Dream on transparent blood orange vinyl.

The original artwork from the initial 2009 vinyl release.

A unique code to download the previously unreleased track 'Chrysalis'.

Following 1 or 2 small run / mailorder lathe cuts, Polytechnic Youth follow it's hugely successful 'Popcorn Lung' label compilation LP, with it's first full length of the new year, and man... this one is just wonderful! A mighty record to kick off what promises to be another hugely productive, constantly busy year for the Crouch End based synth label.

PY often likes to quote the artist directly in it's press releases, and this one is no exception. Gabe's own words, more than adequately explaining the path leading to this killer set for 2019; 'It feels a little ridiculous to pretend that the person introducing you to Gabe Knox is some kind of bigwig press agent and not just Gabe Knox himself, so let me, Gabe Knox, tell you a little about myself in that hopes that you'll give my music a listen.

In 2014, after years of moderate success as a local musician and club DJ in Toronto, Canada, I looked at my collection of barely functioning analogue synths and drum machines and said to myself 'Instead of trying to unsuccessfully make music you think other people will like, why don't you make something that you'd actually want to listen to for once' I wanted to make music that had the drive shaft of Neu!, the punishing low end of King Tubby, the interleaved melodic lines of Vince Clarke, the melancholic, otherworldly whimsy of Raymond Scott and Delia Derbyshire, the hypnotic drone of Spacemen 3, and the analogue intimacy of Le Car. I wanted to bring the euphoria and hypnosis of dance music to the rock kids, and the energy and excitement of rock music to the dance kids.

This was going to be a tough sell in the clique-y Toronto music scene, so I figured the best way to get the music out there would be by recording when I can and self-releasing a steady stream of EPs online. They would all be a series, a snapshot of the evolution of that initial idea. ABC represents a compilation of the best songs of the first three EPs, subtly remixed and remastered to best suit vinyl. I hope you love listening to it as much as I loved making it.'

This really is a remarkable record. Displaying all the PY traits of icy cool blasts of minimal synth, motorik grooves, melodic pop via passing nods to early mute and sky records. Never before did label head Dom think he'd get the chance to namecheck 2 musical heroes from wildly differing poles -Vince Clarke and Spacemen 3- into one LP PR sheet, so he's understandably excited for this one's release!

250 copies on yellow wax in hand numbered, reverse board sleeves. Sure to go real quick....

After the melancholic, heart-melting Nem Kaldı, the quintet delivers a light upbeat piece, Oy Oy Emine, a traditional Turkish song interpreted in the spirit of the group: the
BaÄŸlama (Turkish lute) introduces the melody before a warm and dynamic rhythm section kicks in, over which Derya's superb voice jousts with wah-wah guitars and acid
synthesizers.

Seven Dials Records enlist the expertise of Hugo alongside Fiona McMartin on vocals for their fourth release - the heavyweight UKG tinged, 'Cold Fingertips'.

There's a dark UKG flavour to the 'Vocal' mix, reminiscent of the transition from UKG into early dubstep yet softened with those silky tones. Layers of sub bass and wonky synth lines intertwine, with the skippy, 2-step rhythm providing the perfect basis for Fiona's alluring voice. Label boss Seb Zito takes it more US in style, switching to a 4x4 swung beat, chopping the vocals into a mesmerising melodic element, and adding a host of spin back samples for full garage enlightenment.

Take to the flip for a dubbed-out version of the original, allowing those killer sub synths to come to the fore whilst echoing out the vocal refrains. Closing out the EP the 'Ethereal' mix ventures deep into the realms of dubstep with monstrous undertones, glitching stutters and celestial pulsations, ready-made to cause damage in the dance.

Hollow Earth is the new album from Pye Corner Audio aka Martin Jenkins, his third for Ghost Box. It's conceived as a sequel to 2016's Stasis. Where Stasis played with notions of outward cosmic exploration and the idea of suspended animation and sleep, Hollow Earth takes subterranean exploration and submerged psychologies as its theme.

It draws on Berlin school synth improvisations, New Age reveries and the ghosts of 90s house euphoria to summon up images of vast, awe inspiring spaces and claustrophobic chambers. It sustains an atmosphere of wonder and adventure throughout, and like its companion piece, Stasis, it works equally as a soundtrack to physical as well as mental exploration.

Pye Corner Audio specialise in majestic, cinematic electronica that evokes sci-fi soundtracks, dystopian futures and the sound of haunted dance floors. The discography to date includes eight full length albums and many more singles and EPs across several labels. There are also remixes for John Foxx, Mogwai, Mark Lanegan, Stealing Sheep, Knightstown, Not Waving and most recently Dolphin Midwives.

Pye Corner's Martin Jenkins (aka The Head Technician) is a veteran live performer, and has played shows and festivals all over Europe, Canada and the USA. Most notably he has supported Mogwai on several tour dates, played the Mutek festival in Montreal, the Mugako Festival in Spain and Barcelona's Primavera Club.

Pye Corner Audio pieces appear in the soundtrack to Adam Curtis's 2016 film HyperNormalisation and the 2018 Shudder TV series, Deadwax. More TV soundtrack appearances are due to appear in 2019.

2018 Vinyl Remaster. Von Jan Jelinek kompilierte Werkschau der legendären musizierenden Pharmazeutin.
Die Geschichte der Entdeckung dieser Aufnahmen klingt abenteuerlich. Es soll Ursula Bogners Sohn
Sebastian gewesen sein, der auf einem Flug seinem Sitznachbarn, dem Elektronikmusiker Jan Jelinek, vom
ungewöhnlichen Hobby seiner Mutter berichtete. Ursula Bogner, 1946 in Dortmund geboren, dann in Berlin
als Pharmazeutin bei einem großen Pharmaunternehmen beschäftigt, hatte ein Faible für elektronische Musik
und die Musique concrète. Ab Ende der 60er-Jahre nahm sie eigene Stücke auf, die sie jedoch nie
veröffentlichte. Bogner war stark von den pseudowissenschaftlichen Energietheorien Wilhelm Reichs
("Orgon") beeinflusst und bastelte sich einen eigenen Orgon-Akkumulator. 1994 verstarb Ursula Bogner.
2008 veröffentlichte Jan Jelinek unter dem Titel "Recordings 1969-1988" eine erste Werkschau Bogners, die
jetzt als remasterte Vinyl Version wieder veröffentlicht wird.

One of the first techno-pop songs made in USSR. Written and produced in his Kiev home studio in 1985 by Ukrainian composer Vadim Lashuk. Source audio from master tapes discovered in the attic were kindly provided for this release by the author's family. Limited to 300 copies vinyl edition.

In 2007 Smith & Mudd's first album - Blue River - came out as a CD release. It's now been fully remastered by Simon Francis and will be released on a hand numbered limited edition gatefold LP.

"Blue River is a spine-tingling and evocative mixture of the organic and the electronic, the past and the future. It's an album you will want to hear again and again and as you listen more you will begin to notice the subtlety of the production, the clarity of the guitars, the warmth of the bass guitars, even the vivid colours the music paints in your mind while you listen. Blue River is a beautiful collaboration between Paul 'Mudd' Murphy and Ben Smith and features some incredible guitar work from Bob Klose, a founding member of Pink Floyd"

Rekordfahrt Negativ - Folge 2 is a compilation of minimal wave and 80ies synth tracks compiled by FKK Schallplatten Förderung Kosmischer Kunst

Lunatic is back! After an almost three year hiatus we arise and bring you the five track debut EP of EN DIRECT. A true beacon for those who know and care. Five tracks of inbetween stuff: dark, bright and sincere.

ORACULO RECORDS is proud to be again the selected label for another very awaited album advance. In this case, NEON ELECTRONICS 'Apollo', to be released in early 2019. Leadered by Dirk Da Davo (Ex The Neon Judgement), NEON ELECTRONICS plays on the bounds or krautdarkrock and minimalistic ebm pushing the audience to a lysergic trip. This EP includes as well an amazing live version of TNJ super classic 'TV Treated' recorded in 2018. It will be presented on 12 EP format and produced in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid black vinyl. All tracks have been specially mastered and remastered for LONG CUT vinyl by Eric Van Wonterghem.

Sydney Valette has earned a solid reputation among post-punk scene of Paris. 'Space and Time' is a sample of his very upcoming new album. Minimal synthetic maneuvers combined with sharp guitars for a perfect modern dark sound, probably his best studio work to date. It arrives presented on 12 EP format and produced in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid WHITE vinyl. All tracks have been specially remastered for LONG CUT vinyl by Eric Van Wonterghem.

Returning to Giallo Disco after a 2 year absence is the mighty Ketsueki Sakuru. Trademark arps and low-motion rhythms collide this time with the sleaze of a different era. Taking cues from the book of the same name by Chuck Palahniuk the Snuff EP imagines itself as the video game remake directed by Hidetaka Suehiro. Carrying itself with the confidence of a gigalo, not even wearing a smile, the Snuff EP lurks in dark drones, distorted snares, new beat grime and retrosynth moods. Art by Eric A Lee. Mastered by Brassica. Limited to 200 Copies.

Victrola is the duo of Antonio "Eze" Cuscinà and Carlo Smeriglio from Messina, Italy. The band formed in 1979 but shortly thereafter relocated to Florence take part in a rich musical scene alongside Neon, Pankow, Alexander Robotnick, and Diaframma. Beginning as a 4-piece (two guitarists, bassist, drummer) they slimmed down to a synthesizer and guitar-based duo by 1982. Their sole release was the now classic 'Maritime Tatami"/"A Game Of Despair" EP from 1983, which we reissued in 2012.

'Born From The Water' is a 12 song collection of unreleased demos recorded between 1983 and 1985. The band sent us over 100 cassettes, through which we dug to compile the first volume of their archival darkwave ballads. They used an array of Roland synthesizers (TR-606, TB-303, TR-909, Juno 6) plus a Korg Polysix, Yamaha DX7, Casio VL-Tone VL-1, DR-55 Dr. Rhythm, and Fender Stratocaster and Jazz Bass. Some of the songs would later appear on various compilations, but the versions presented here are unique. Victrola engulfs the listener with trance-inducing synth lines, oblique minor-key bass lines, angular guitar riffs, and melancholic vocals. The songs tell tales of youth, love, karma, and the decline of civilization in modern times. Each song has been carefully remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The records come housed in a jacket designed by Eloise Leigh, which uses motifs from the band's sole release and includes an insert with liner notes and photos.

Mannequin Records presents a trilogy of reissues from the avantgarde Italian-born producer Doris Norton, "Nortoncomputerforpeace" (1983, originally released by Durium Records), "Personal Computer" (1984), "Artificial Intellingence" (1985).

Apple's first music "endorsement" and Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro / computer music. Norton is the wife of Antonio Bartoccetti, progressive rock guitarist, and mother of the musician and techno producer Rexanthony. As a teenager, she was drawn to medieval, Renaissance and Baroque music, not to mention quantum physics, differential equations, organic chemistry, the experimentalism of John Cage and animated movie soundtracks. Her love for modules and circuits found expression through the waves of an old harmonium, the frequencies of a Minimoog, a Roland System 100M, a Roland System 700 and the ARP 2500/2600.

In 1980, Norton began her solo career by recording at Fontana Studio 7, the Milan studio of the composer and musician Tito Fontana, resulting in the electronic opera "Under Ground". Norton became more prolific, continuing her adventures in experimental electronics and computer music with Parapsycho (1981), Raptus (1981), Nortoncomputerforpeace (1983), PC (1984) - whose album cover prominently features Apple's colored logo - and Artificial Intelligence (1985).

Third studio album, 'Nortoncomputerforpeace' involved Doris Norton, Antonius Rex and Rudy Luksch (hardware engineer).

"Don't Shoot At Animals" was used as original soundtrack for the RAI tv program "Rumore Di Fondo" directed by Umberto Marino.

'Variants.1+2' is the first 2LP to be released in a series presenting a collection of disparate pieces of music from past and current works. It

features live performances with guest musicians, new compositions, improvisations and reworkings of older material including a 2009

instrumental version of the Japan B-Side 'The Experience Of Swimming'. In 2017, Richard Barbieri released his most sonically expansive work to date.

'Planets + Persona' is his third solo album, but the first to feature such a wide pallet of instrumentation. Vintage analogue synthesisers combined with

acoustic performances and jazz elements, including some stark and memorable improvisations from a personally hand-picked group of musicians, a release

that has been well received by a dedicated and growing fan base. As an ex-founder of the new-wave pioneers Japan, Barbieri was a leader in

creating the ground-breaking synthesiser sound that defined the band and influenced the likes of The Human League, Duran Duran, Gary Numan, Talk

Talk and a whole raft of artists to follow. Together, the band recorded five studio albums culminating in the ground-breaking 'Tin Drum', which stayed in

the UK Albums Chart for a year. Following Japan, Barbieri joined Steven Wilson in the formative years of the legendary progressive outfit Porcupine Tree, playing keyboards on all the

band's albums since 1993 as well as releasing two striking solo albums: 'Things Buried' and 'Stranger Inside'. His ear for composing unique soundscapes and synth textures recently led

to collaborations with other talented composers, such as Steve Hogarth (Marillion) Steve Jansen & Mick Karn (Japan) and Steven Wilson.

Presented on 180g heavyweight vinyl in a gatefold sleeve and features a new live photo print.

'Tightly Unwound', one of the first albums on the record label, is being reissued as part of Kscope's 10th-anniversary celebrations. It is a double

vinyl set presented in gatefold packaging and precedes the band's second European tour in support of 'Dissolution' beginning on 21st February and

ending on 24th March. The Pineapple Thief reissue their first Kscope album, 'Tightly Unwound' newly remastered by Steve Kitch at Audiomaster, following their recent success with

two studio albums featuring King Crimson drummer Gavin Harrison. August 2018's 'Dissolution' saw the band reach #1 in the UK Rock & Metal chart,

#36 in the UK album chart, #22 in Germany, #4 in Platomania Netherlands and #14 in Finland's physical chart, and took them on two headline European tours

including their biggest ever booking at London's Shepherd's Bush Empire. 'Your Wilderness', released in Summer 2016, achieved something of a breakthrough

for the band before 'Dissolution', producing 4m+ album streams, a #7 in the UK Independent Charts and two extensive headline European tours culminating at

London's Islington Assembly Hall where the concert was recorded for the live release 'Where We Stood'.

'Tightly Unwound ..has a visceral undercurrent that prevents singer/guitarist Bruce Soord's penchant for sweet melancholia becoming soporific.

It's heightened by the band's keen sense of dynamic as acoustic strumming suddenly switches to a harsh electric frenzy' - Classic Rock Magazine

'there's much to be savoured here' - Rock Sound.

180 GRAM AUDIOPHILE VINYL
- INCLUDING INSERT
- FEAT. THE HIT SINGLES 'TURN AROUND
AND COUNT 2 TEN' & 'COME HOME (WITH
ME BABY)'
- 30TH ANNIVERSARY EDITION OF 1.500
INDIVIDUALLY NUMBERED COPIES ON
COLOURED (PINK & BLACK MIXED) VINYL

Nude is the fourth album by the English pop band Dead or Alive. After the separation from their successful production team Stock-Aiken-Waterman band members Pete Burns and Steve Co took over the control of the ship. They created a respectable release which covers most of their highly attractive and energetic dance, pop and euro-disco music. The big hits of this release were 'Turn Around And Count 2 Ten' and 'Come Home With Me Baby', both an eclectic fusion of electronica beats and danceable rhythms. One thing that makes this album so remarkable is the fact that each song flows into the next and perfectly accompanies the previous one.

Dead or Alive gained success in the mid-1980s and sold over 50 million records worldwide. Founder and vocalist Pete Burns passed away in 2016 and since the band discontinued.

Nude is available as a pressing of 1.500 individually numbered copies on pink & black mixed vinyl.

Process Blue was formed in the fall of 1981, at Antioch College near Dayton, Ohio. The group essentially consists of Chel White (tapes, keyboards, percussion) and Dan Gediman (keyboards, vocals, bass). Additional members contributed at various points to both recorded works and live performance. Process Blue's original interest was in electronic music and the interfacing of electronic sounds with acoustic instruments, non-musical instruments, and tape-manipulated sounds. The group's primary objective has been to strive for creative experimentation within the format of contemporary pop music.

We are proud to release a 12-song LP featuring music recorded between 1981 and 1982. 7 of the tracks were originally self released on a cassette album in 1982. The only song in this batch to ever appear on vinyl is 'Control Panel' released on a French LP compilation called 'Folie Distinguee Alternative Funk.' The songs range from experimental dance music to quieter, more melodically-oriented pieces. They used an array of synthesizers used were Moog Sonic-Six, Casiotone MT-30, Korg MS10, Roland SH 101, Casio VL Tone. Analog instruments included electric guitar and bass, and drums. Guest musicians included Gil Belton (melodic rototoms percussion and synthesizer bird sounds) on Industrial Park, Eric Zimmerman (Korg synthesizer) on Up to $100 and Subterrania, Patricia Yarborough (vocals) on Pink Razor and Air, Mike Pummel (engineer) on Control Panel, and John Flansburgh (of They Might Be Giants) engineer on Up to $100. All songs have been remastered by George Horn at Fantasy Studios. Each LP is housed in a jacket designed by Maycec featuring original drawings by Chel White and include a double-sided insert with photos and lyrics.

Geelriandre/Arthesis is named for the pieces that fill its two sides. Geelriandre, realized on an ARP 2500 synthesizer in 1972, featuring Gérard Fremy on prepared piano, for whom the piece was originally composed. Arthesis, realized using the University of Iowa's Moog in 1973, comprises the full duration of side B.

Eliane Radigue has received much deserved praise for her transcendent composiitions for tape, synthesizers and acoustic instruments. Her work is deep, slowly changing and timelessly resonant with timbre so dense you can listen through the sound to find infinity. Accute physicality, overtones and psychoacoustic activity fills your space, follows you, grounds you, pulls you in or lets you go. It's all here/hear.

It gives me the greatest honour to finally be able to announce the release of this amazing triple vinyl masterpiece by log(m) and Laraaji on Invisible, Inc.

It's been over a decade since Laraaji first joined forces with log(m) in their Canadian studio in early 2007. In those ten years the trio recorded many hours of music. Over time these recordings, beginning essentially as live jams, were polished, dissected, processed, re-arranged and then finely and painstakingly distilled down to the 105 minutes of music that now form this album, which finally reached completion just earlier this year. The wait has been more than worth it.

The Onrush Of Eternity is a melding of minds like no other. Ever the pioneer of experimental ambience, Laraaji's signature hammered dulcimer, zither, mbira, auto harp, sruthi drone box and of course his exceedingly positive vibes are here combined with log(m)'s unique vision of gronky hi-tech psychedelic space dub. The resultant voyage into deeply meditative ambience and trance-inducing dub is as unexpected an outcome as it is a bona fide "Eureka" moment. It sounds neither like log(m) OR Laraaji....but of course like both. It is one of those rare collaborations that is, without a doubt, even greater than the sum of its already great parts.

Log(m) started making waves in the early '90s as Legion Of Green Men with their visually striking 12"s, complete with eternal opuscules (locked grooves) and mathematically inspired titles, all lovingly issued on their own Post Contemporary imprint. These deservedly got the attention of Richie Hawtin who promptly asked the duo for an album on his own classic Plus 8 Records. 20+ years later and the music (much like their name) has morphed into something more sophisticated: even more complex, atmospheric and deeper than ever.

Laraaji's reputation of course precedes him: he first came to wider attention when Brian Eno released his "Day Of Radiance" as part 3 of his Ambient Series in 1980. Since then, Laraaji has released over 40 albums, yet his stellar path seems still to be on the ascendant - a recent landmark being the 2017 "Sun" series of albums for the wonderful All Saints' Records.

This unique triple LP in tri-fold sleeve is limited to 200 copies on coloured vinyl and 300 copies on black vinyl featuring ten of log(m)'s signature eternal opuscules and cryptic engravings on all three discs.

Spaced-out Library Funk From The Vaults Of Warner/chappell Production Music. Eleven76 Create A Time-travelling Soundtrack To Orbital Adventures With Heavy Drumbreaks And Analog Synthesizers, Perfect For Intergalatic Breakdance Battles And Cosmic Dancefloors Alike.

Exclusive Promotional Vinyl 45 To Support The Library Album Space Voyage. Limited Quantities Available As Most Of The Pressing Is Used As A Giveaway For Clients In Film/tv/advertising.

Reissue of a 1991 demo cd released by Clarence Séti. Multi-genre digital synth compositions possibly intended for a soundtrack. Some romper-jazz, funk, freeform minimalism, and whatever else you want to call it.

When recording their EP 'MKDRONE,' duo Jeannie Colleene and Gavin Neves - a/k/a HXXS - were cramped in a San Jose warehouse, sharing a wall with a porn studio. Despite their vocal takes periodically interrupted by even louder and harsher vocal takes echoing in the halls, MKDRONE came together. When prescription medication became the only reprieve for an inoperable tooth infection that had one member sliding between unbearable pain and prescription-induced euphoria, the first single 'Seppuku,' the historical Japanese term for suicide by disembowelment, came to fruition. But similar to life with no health insurance and recording music wedged in the walls of a porn studio, HXXS live somewhere between the uncomfortable and the alluring.

Their live show, which consists of any hardware they can get their hands on - drum machines, synthesizers, samplers - is built on loops, making the songs feverish and at times deliberately frenzied to a point of anxiety. However the duo anesthetize this angst with more subdued nods to electronic and post-punk acts of the 80's, 90's, 00's and Present. While their music is undeniably erotic - a tip of the hat to their vocal San Jose neighbours - the EP is what happens when your intrigue with pop culture media and conspiracy theories from the 60's to present turns obsession. Contemplating the bombardment of modern media and those ill served by it. Women, the LGBTQ+ community, people of colour, victims of white supremacy and the patriarchy. As the 10 year anniversary of Captured Tracks draws to a close, HXXS were welcomed to the roster with an invitation to join the final CTX show at Baby's Alright on November 11, playing alongside Drahla and Wax Chattels.

This 2XLP album, EUROPA, is dedicated to and inspired by events in 2015 & 2016, which saw the spectre of global crisis come knocking at Europe's doorstep.During this time, more than a million migrants and refugees fled their homes in the Middle East, Northern Africa, sub-Saharan Africa and other conflict ravaged areas in search of a better life. For many, hopes of a future for themselves and their families lay in continental Europe.As already said about the preceding 12' single with the same name - One of the most well- trodden paths on this journey was the Balkan route, a trail leading through Turkey, Greece, and the former Yugoslavia.. This route was not without its dangers, and the dreams of thousands upon thousands were dashed by impassible security fences and discordant EU politics, as one by one they were turned away at borders, or worse, forcibly returned to their countries of origin.Europa was recorded during long jam sessions in Belgrade as the media spotlight started to dim. The city became the purgatorial destination for a large number of migrants, whose journeys had been cut short.
This double LP reflects the atmosphere of disillusionment and uncertainty about the future, which descended on the Serbian capital. Dark and melancholic saxophone playing on top of heavy kicks and Mediterranean percussions dominate the epic 17 minutes title track. The collaboration with Jerusalem in My heart continues the melancholic atmosphere, adding to it JIMH signature delayed baglama sounds, to create a 12 minute emotional journey, tearing away abstract concepts of 'longing' and 'home' with ever growing tension and magnitude. Genre-less, illusive and not easy to categorize, Tapan's debut album on Malka Tuti is an original soundtrack of a fragment in time and space, capturing a moment and transcending it musically for the rest of the world to experience.

The main motivation behind the creation of ORACULO RECORDS label was to release directly the material produced by the label managers Nico Caban~as and Vanessa Asbert under SYNTHS VERSUS ME alias so to celebrate the reference OR50 they present an EP with a selection of unreleased material on vinyl, including their very acclaimed and awaited version of "Goodbye Horses". This record is available as gift / free digital download at ORACULO RECORDS bandcamp. It arrives on 12" EP format and produced in a ONE-OFF truly ultra limited edition of 150 copies lacquered pressed on 180 gr. high quality solid black vinyl. All tracks have been specially remastered for LONG CUT vinyl by Eric Van Wonterghem.

The new album from Danish electronic trio System is a special kind of collaborative effort with piano magician Nils Frahm. His purpose-built improvisations on synth, organ and piano served as source material for the members of System (Thomas Knak, Anders Remmer & Jesper Skaaning), who merged his warm acoustic tones with their minimalist digitalism and set out to translate their distinctive clicks 'n' cuts electronics into vivid soundscapes. Over two years in the making, the resulting nine tracks are as sonically intriguing as they are touching. Ranging from the mellow bliss of the title track to echoes of 90's and 2000's electronica and ambient sequences frequented by mesmerizing movements and sounds. The blending of piano and digital tones and noises into emotive pieces might instantly recall the work of Alva Noto and Ryuichi Sakamoto, though System and Frahm come to quite different results.

Thomas Knak met Nils Frahm at one of his concerts in Copenhagen. They stayed in touch, exchanging thoughts and ideas. Two years later, Anders Remmer was also introduced to Nils. From then serious ideas for a collaboration formed. As Nils was a fan of System's self-titled debut album (released in 2002 via Pole's Scape label) their talks centred around Dub and minimalism, elements that constitute most of System's music as well as their side and solo projects. This in mind, System began producing sketches and brought them to Nils´ Durton Studio in Berlin in December 2015, where they recorded ten hours of him playing keys and effects to their drafts. Back in Copenhagen, they decided to change direction. - As Nils had told us about his fascination with our debut album, we tried to rediscover this minimal clicks 'n' cuts era. But hearing Nils playing to our rhythmic beds, we felt the need to scrap those beats and instead head in a more cinematic direction.'

So they started building new pieces from the Durton recordings, maintaining some of the minimal and static quality while new layers of synth sounds and noises created a richer and more organic quality compared to older System albums. The solo projects of Thomas (Opiate), Anders (Dub Tractor) and Jesper (Acustic) always relied on steady beats or rhythmic material, so the productions of 'Plus' with their focus on acoustic and melodic elements, ambient layers and cinematic moods, sees them pushing forward into new areas.

This way, the trio avoided copying what they had already done years ago, when they built a reputation as Denmark's prime originators within electronic music in the 90's and 2000's. 'Plus' is a triumphant example of collaborative experimentation and may be the dawn of a new era for System: - For us it was really satisfying to focus more on actual sound rather than rhythmic aspects. There is a lot of potential in this field, so it would only be natural for us to pursue this, maybe as a series of collaborations with other people who's music we admire.'

Composer, Synthesist And Producer Matt Robertson Is Set To Release His New Album 'entology' Via Tape Club Records On 16th November 2018. It Follows His Warmly Received 2016 Album 'in Echelon', Described By Mojo As "nils Frahm's Modern Classical Meets Jon Hopkins' Grainy Techno", "an Album Of Symphonic Electronica And Leftfield Techno Thats Cinematic In Scale" In Mixmag And "magnificent Wild Sound" By The Line Of Best Fit.

As Musical Director For Björk, Cinematic Orchestra And Anohni As Well As Working With Lamb, Emiliana Torrini And Bat For Lashes, Matt Has A Wealth Of Experience Collaborating With Some Of The Most Exciting Artists In The World. Working With A Collection Of Vintage, Modern And Diy Synths, And Combining Electronic Music Production With Classical Composition And Cinematic Soundscapes - Artists, Producers And Film Composers Alike Seek His Enveloping And Distinct Sound.

"i Love The Idea That Not So Very Long Ago, The Idea That A Species Could Become Extinct At All Was Laughed At. In The 17th Century, Fossils Were Believed To Be From Mythical Creatures Like Dragons. In 1796, George Cuvier Presented The Idea That A Species Could Have Existed And Now No Longer Existed, And He Was Laughed At By Scientists. Darwin Then Suggested That Evolution Did Not Need Catastrophic Events To Explain Extinction - More That It Was Due To Perpetual Competition In An Overcrowded World.

I'm Adopting The Word "entology" To Be An Awareness Of Our Current Period Of Geological Time Being An Extinction Period, Where An Extinction Period Is Defined As A Time When A Significant Proportion Of Species Die In A Geologically Insignificant Amount Of Time. I Was Trying To Imagine The Obvious Desolate Spaces Of A Post Apocalyptic World, But Also The Slightly More Opaque Vision Of The Fact That So Many Things Are Becoming Extinct Around Us Without Us Noticing, Or Even Being Aware Of Their Existence In The First Place.

The Idea Is Of Desolation But, Because Of The Awareness, Also Of Hope."

- Matt Robertson

Brian's pioneering Ambient album from 1975 has been Half Speed Mastered by Miles Showell at Abbey Road Studios, London and is now presented in a gatefold sleeve on 2 heavy weight albums which are played at 45rpm for a superior listening experience. Now housed in a gatefold sleeve with an Obi and Abbey Road Certificate. Contains a Download Voucher.

Brian's pioneering Ambient album from 1978 has been Half Speed Mastered by Miles Showell at Abbey Road Studios, London and is now presented in a gatefold sleeve on 2 heavy weight albums which are played at 45rpm for a superior listening experience. Now housed in a gatefold sleeve with an Obi and Abbey Road Certificate. Contains a Download Voucher.

Synth Wave Duo MängelExemplar from Düsseldorf creates analogue and melodic New Wave Sound in an early 80's style.

This 12' is a document of modern contemporary music, containing future artifacts made by a selection of old friends and new faces. All of them deviate from what's obvious, possessing the ability to be serene and mental at the same time. Their coming together here is a great opportunity to appreciate this kinship, while at the same time acknowledging what distinguishes them from each other in terms of sound and representation.

Released In September 1978, A Mere Two Months Before Ymo's Debut, Cochin Moon Is A Clear Precursor To The Groundbreaking Synth And Sequencer-dominated Sounds That Would Come To Define The Iconic Trio. Credited To Hosono And Pop Art Legend Tadanori Yokoo (who Created The Cover Art), Cochin Moon Is A Fictional Soundtrack To A Journey Into Unknown Worlds, Inspired By Hosono And Yokoo's Trip To India.
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The Unbelievably Prolific Haruomi Hosono Is One Of The Major Architects Of Modern Japanese Pop Music. With His Encyclopedic Knowledge Of Music And Boundless Curiosity For New Sounds, Hosono Is The Auteur Of His Own Idiosyncratic Musical World, Putting His Unmistakable Stamp On Hundreds Of Recordings As An Artist, Session Player, Songwriter And Producer. Born And Raised In Central Tokyo, His Adolescent Obsession With American Pop Culture Informed His Early Forays Into Country Music, Which He Would Revisit Later In His Career. Hosono Made His Professional Debut In 1969 As A Member Of Apryl Fool, Whose Heavy Psychedelia Was Somewhat At Odds With His Influences, Which Leaned Towards The Rootsy Sounds Of Moby Grape And Buffalo Springfield. The Latter Was One Of The Main Inspirations For His Next Group, Happy End, Whose Unique Blend Of West Coast Sounds With Japanese Lyrics Proved To Be Highly Influential Over The Course Of Three Albums. After The Band's Amicable Break Up In 1973, Hosono Began His Solo Career With Hosono House, An Intimate Slice Of Japanese Americana Recorded Inside A Rented House With Recording Gear Squeezed Into Its Tiny Bedroom. Hosono's Solo Career Would Take Many Twists And Turns From This Point Forward, With Forays Into Exotica, Electronic, Ambient, And Techno, Culminating In The Massive Success Of Techno Pop Group Yellow Magic Orchestra (ymo).

Released In September 1978, A Mere Two Months Before Ymo's Debut, Cochin Moon Is A Clear Precursor To The Groundbreaking Synth And Sequencer-dominated Sounds That Would Come To Define The Iconic Trio. Credited To Hosono And Pop Art Legend Tadanori Yokoo (who Created The Cover Art), Cochin Moon Is A Fictional Soundtrack To A Journey Into Unknown Worlds, Inspired By Hosono And Yokoo's Trip To India. Initially The Album Was To Be A Kind Of Ethnographic Musical Document, Using Found Sounds And Field Recordings Made By Hosono Himself. Instead, After Yokoo Introduced Hosono To The Sounds Of Kraftwerk And Krautrock During The Trip, Cochin Moon Became Something Much Stranger. Created Almost Entirely On Synthesizers And Sequencers With The Help Of Future Ymo Collaborators Ryuichi Sakamoto And Hideki Matsutake, The Music On The Album Is The Perfect Encapsulation Of Hosono's Concept Of sightseeing Music,' Transporting The Listener To An Exotic Place That May Or May Not Exist. This Highly Sought-after Album Sees Its First-ever Official Release Outside Of Japan

Delving deep into social and political subtexts, Thomas Ragsdale bases the framework of his new album 'Self Zero' around classified mind analysis, ritualistic cults and savage primal urges.

It's as much blissful pensiveness as it is pure trance brutality. Seductive vintage string machines, thrusting 808 drum rhythms and jugular striking 'Penderecki' style vocals weave in a rainstorm of serene chaos. Thomas describes it as 'it's own world of diseased, neon-coloured sour sweets put through distortion units on volume 11: there's a warm welcoming smile, but it shrouds the grim reality of what truly lies beneath'.

'Self Zero' was pieced together in Ragsdale's basement studio in Yorkshire, where he honed his craft for writing music for commercials, feature films and documentaries. Whereas his output has varied from minimalist ambient guitar preludes to throbbing techno workouts, 'Self Zero' sees him in a particularly vicious mode with a 'when is this thing going to explode' mentality.

Thomas' resume boasts music featured on two BBC documentaries from film maker Adam Curtis ('Bitter Lake' & the highly acclaimed 'HyperNormalisation') as well as composing for the likes of BMW, Prada and Twitter. He sits alongside Luke Abbott and Jon Hopkins in Domino Publishing's esteemed and prestigious roster and his music has been praised highly by Resident Advisor, FACT, Mary Anne Hobbs and The Guardian.

Roughly said, Night Sticks is a completely obscure synthesizer duo from Sweden, to quote the protagonists. But for us, love started many moons ago. Their melodies have been floating at home for years. For years, we have been listening to the only 4 tracks available on Soundcloud. With the same exact emotion each time, like unconditional love. Anyway, we could write loads about this record, but compared to its beauty every word sounds discordant...

Mastering : Frédéric Alstadt

Sinking Into A Miracle is the debut album by Glasgow's AMOR, a quartet of musical travellers exploring the sonic open-ended-ness of dance music. Following two critically acclaimed 12-inches, this is a fully developed treatise on ecstasy and transcendence. Here, Richard Youngs, Michael Francis Duch, Paul Thomson and Luke Fowler are more honed, razor sharp in focus and timing, testing their instrumental prowess on condensed song structures and new, enlightened feelings of expansive hope and bliss. From the outset, it's an ambitious yet ultimately inclusive journey. Recorded to 24-track tape at Chem 19 and mixed by Paul Savage and Richard McMaster (Golden Teacher), this full length retains the elastic grooves of Paradise and Higher Moment, the group's previous singles, but relinquishes the classic Philadelphia International-tinged sound in favor of looser rhythmic patterns. There are new depths to the compositions: a more free-flowing approach to percussion and deft experiments in hybridity make for a full and rounded, emotionally tinged record. Indeed, there are times when AMOR sound like the lost house band from David Mancuso's Loft parties: Richard Youngs' uplifting, gospel-tinged lyrics talk about moving beyond, universal truths, sailing through the horizon. It's a wideeyed optimism Mancuso would perhaps have approved of and which is embroidered with spectral details that begs to be auditioned on large, tweaked out sound-systems.
Fantastic cover art by Robert Beatty.

Another week another lovely electronic/synth album, this time from Brooklyn based Faten Kanaan. To me these 13 shimmering tracks conjure up images of Medieval scenes in old video games, baths of mercury or other such things - think a new-age Mira Calix or more lo-fi Kara Lis-Coverdale.

The title is symbolic: an homage to the wild, untamed/unedited spirit. It's an album of uninhibited expression, a balance between playfulness and nuanced intentionality. Foxes is loosely inspired by early Surrealist automatism, made-up languages, Middle-Eastern Hakawati storytellers, and the minimalist poignancy of mimes. Here, Kanaan uses sound as an intuitive gesture to tell a wordless story.

More Than Human are based in Canada and have previously released records by Pye Corner Audio, Robert Aiki Aubrey Lowe and Ekoplekz.

Les Editions Japonais, is a new label to showcase Japanese artists new and old, the first release is by Tokyo based band Kufuki.

Kufuki, was formed in 2010 by Ryuichiro Konno (electronics), Motomasa Saito (electronics), Tosimasa Matsumoto (vocals), and Yudai Nobunaga Kogawa (vocals,VJ, electronics), hailing from various musical genres, ranging from techno, rock, blues and hip-hop. Tired of formulaic club music, they set out to create their own electronic ethnic music, firstly taking influences from places they had travelled, but more recently concentrating on electrifying minyo, or traditional Japanese folk music.

MInyo has an ageless tradition in Japanese culture, mainly work songs - for example, sung by field workers and fishermen - and regional tributes. Passed down over the centuries by performance at seasonal festivals, they are often accompanied by dance. These traditions prevail, and many songs are familiar to a large proportion of Japan's population, young and old.

Kufuki have already released two albums, the self-released "Fukamidori" (2010), and "Kufuki', on the Wonderyou label (2012). Favourable reviews appeared in Japanese, American and European web magazines: Bad Alchemy Magazin (Germany), Loop (Chile), Sound & Recording Magazine (Japan), Hemisferia (Colombia) and more. They toured South Korea in 2013 and Europe in 2014, taking in Germany, Portugal and the UK. This year they are planning another European tour.

The band's singular sound is a rollicking rendition of minyo, using the driving work-song rhythms as a background to their call and response vocals, and phalanx of decaying synthesizers, all in a pentatonic key.

Torobayashi is a 20th century folk song, originally released in the early 60s by Masao Suzuki, as part of the original wave of popularised minyo. Akusejima is much older, named after the tiny remote volcanic island in Kagoshima. And, tucked away on the B side is a cheeky dancehall-tinged re-work of Torobayashi by Japan Blues.

The 4 track 12' comes in black disco bag, with label artwork by Motomasa Saito, and with a washi (Japanese paper) New Minyo sticker.

Mind Records Are Extremely Proud To Announce Their Next Release: Onyx Complete Works.

Onyx Was An Early 1980's Boston Based New Wave / Avant-garde Band, An International Duo Of American Songwriter And Instrumentalist Judd Stone, And British Vocalist (and Then Boston Fashion Model) Beveur. They Released Two Singles And A Cassette.

All Of The Instruments Are Played, There Is No Syncing Or Sequencers Used On Any Of The Recordings.

A Dread Combination Of Primitive Sci-fi, Beatboxes, Live Drums, Organ And Synths, Interspersed With Beveur's Ice Cold Chat And Vocals.

Hosono's solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.
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The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer.

Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom.