Beats News

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.