Beats Vinyl New Releases

German project founded in 1984 by Peter Mergener and Michael Weisser. This release features two cheery picked exemplary moments in downtempo contemplative cosmic travels. A side sends the listener well out of orbit with a 10 min long gradient of Krauty arpeggiated showers that grows elegantly, a concerto to the astros of the mind. Flip it and it gets better as your space capsule gets sucked into some distant planet's gravitational pull, feelings of other-worldly sounds, slowed down beautifully almost eerie nuances one won't forget so easily. Sunrise on a Balearic island from another solar system. Berlin-School by trade but also heard on mixes by Jose Padilla. Heftily remastered.

Tobias Freund, the Berlin based producer, musician, and label owner of Non Standard Productions has created an incredible cover record that pays tribute to some of the most iconic and influential artists of the past four decades.


The album Tobias. & Friends - TOP TEN places a unique spin on the original tracks, with its combination of electronic sounds and vocal performances from Javiera González, Barbie Williams, Cormac McAdam, Carlos Cabezas, and Stian Westerhus.
Having already worked with Javiera González on the recent post punk album release “The Mutual Torture - Don’t” (NSP 19), Tobias has once again used his talents to honour some of his favourite bands.

Each track has been carefully re-produced at Non Standard Studios in Berlin, resulting in a perfectly balanced mix of old and new.

Over the past five years, Mark has forged a unique identity in underground drum’n’bass, alloying traditional junglist motifs and electroacoustic ambience through a series of singles on A Colourful Storm and Unterton. A Colourful Storm now presents the culmination of his work and debut album, a shapeshifting expression of luminescence and rhythmic complexity.

Mark’s ambitions with Integrier Dich Du Yuppie (2017) and The Least Likely Event Will Occur In The Long Run (2018) reflected upon the relationships between - and division of - people, place and power. Now he responds with two pieces featuring his signature skittering drums, seismic sub-bass and atmospheric passages recalling Roland Kayn, Luigi Nono and Bernard Parmegiani. Moonlight shines, choral voices appear from above. Arresting, unnerving tranquility.

Recommended for fans of Eli Keszler, Hiro Kone, Torsten Pröfrock and Kali Malone.

'In Thy Domain' is a concept album and audio-visual work by British artist Fred Mann. The 12-track, double-vinyl album is a cinematic voyage tracking the evolution of mankind, key themes of human advancement, technology, life after AI, and beyond.

The album traverses multiple genres - including ambient, electronica, broken-beat techno, and experimental drone - to create an immersive musical experience that mirrors the dynamism of human evolution.

The work aligns with the latest scientific knowledge, drawing inspiration from the tipping points of human civilization and the defining timelines that have shaped our species. The music is complemented by a series of artworks and scrapbook images, visible in the vinyl gatefold, which symbolize each track and its corresponding era.

Many of the tracks feature additional production, synthesizers, flute and clarinet by Chris Taylor (Grizzly Bear / Warp), and additional production and drum programming by Inland (Ed Davenport / Counterchange).

Fred Mann premiered ‘In Thy Domain’ live in Prague, October 2019, alongside Alessandro Cortini for Dietl Archive x Polygon.

The album version comes presented on heavyweight double vinyl in a gatefold sleeve designed by the artist himself.

Hibotep is of Somali ancestry. Born and raised in Ethiopia, she currently lives in Kampala, Uganda. A walking, breathing example of the diversity of Kampala’s arts and culture scene, Hibo Elmi is, amongst other things, a DJ, filmmaker, fashion designer, installation artist, rapper and producer. A self described cultural nomad, pushing forward a genre she calls Industrial Shamanism.

Green Vinyl

For its fifth release, french label The Bass Academy goes back into time!!! Originally written by legendary Man Parrish, "Boogie Down Bronx", a cult classic from 1984, sees a mighty resurrection with a "fresh mix" rework from UK Electro veteran Bass Junkie. Not the first time Phil Klein (Battle Trax, Breakin' Records) remixes Man Parrish as he committed in 2002 the heavy “Bass Junkie's Boogie Down Bass Mix” of “Hip Hop Re Bop”. Today, he serves up an uncompromising electro funk mayhem made of old schoolish samples, vintage synth melodies, retro congas, relentless scratches and pounding 808 beats. This brand new Sci-Fi anthem, enhanced with the legitimate legacy from the past, will invite you for some irresistible B-Boy breakdancing movements on the linoleum!!! Tuuuuuunnne! On the flipside, Phil teams up once again with long time partner in crime Simon “The Dexorcist” Brown. Together, as Gods Of Technology, (Battle Trax), they revisit another untouchable song, “Future Computer”, an exclusive to TBA track written by Jamie Jupitor and published in 2017 (TBA02). Metallic sororities melt with nasty vocoder sequences and imparable whispers turn the cut into an ode to the dancefloor thanks to harsh and hammering beats. What a timeless monster in pure West Coast tradition! With abrasive outings to appear on the forthcoming months including an incredible album with Matt Whitehead on Dominance Electricity, Phil Klein definitively returns to studios stronger than ever, putting a end to a short blackout. Rush in this hypnotizing collector 12”, limited as usual to 150 copies as it marks one of Phil Klein’s best releases to date!

The Brothers From Different Mothers (BFDM) boss man Judaah next in line on the AMX series. He goes full sludge mode on Side A, starting with strictly low slung beats, tinged with dub/experimental influences before finishing up with some vocal percys. Side B starts with some electro / bailefunk crossovers, moving into a Jersey and Balt influenced section and then taken down a notch to finish.

Full AW by Ciaran Birch with double sided J-card & on body cassette printing.

No digital.

The name NxxxxxS (pronounced "N-Five X-S”) sounds like it could be an equation, or a mystery. But to begin to unravel the identity of the French producer who just signed to Because Music and Mad Decent (the label founded by Diplo), you first have to look for clues on YouTube and Soundcloud, where so many underground artists have found a place to hone their craft. In the ten years preceding the release of his second album Short Term Agreement in 2023, NxxxxxS built up a solid reputation for himself in the international vaporwave, vaportrap & phonk scenes. This is no small feat considering he didn’t have any real knowledge of production or composition before deciding to take on these classic genres of “Internet music”.
The Paris native first gained exposure when he started making beats on YouTube, taking his inspiration from American rappers of the blog era - when artists, especially in hip hop, used digital technology to break away from traditional distribution models - like Mac Miller or Odd Future. Building on this initial success, NxxxxxS turned to Soundcloud, an essential platform for music enthusiasts, tastemakers or anyone on the lookout for the sounds of tomorrow.
Following in the footsteps of The Alchemist and other producers of the same ilk, NxxxxxS soon became one of the pioneers of vaporwave and vaportrap music. Featured prominently in modern productions, these styles originated on social media platforms such as Reddit or Tumbler in the 2010’s and are recognisable by their frequent use of commercial samples ranging from the 70’s to the 2000’s (taken from jingles, lounge, jazz or elevator music). Altered, chopped up and slowed down to around 60 to 70 BPM to match hip-hop standards, the music offered a critique or satire of capitalism, consumer society and any culture that grew out of it, most notably yuppies from the 80’s.
NxxxxxS put his own spin on the recipe by creating a new world filled with soaring melodies and countless references to movies and horror scenes, and eventually released his debut album Fujita Scale (a scale used to measure the damage inflicted by tornadoes) in 2014. The album reached a worldwide audience because of its composer’s story and of the secrecy around his French nationality, and even won over unexpected fanbases such as the highly closed off Chinese market. Fujita Scale landed on one of China's streaming platforms, making NxxxxxS an identifiable artist in Asia who went on to tour his album three times across the continent.

NxxxxxS kept the ball rolling, collaborating on a new series of more accessible projects, which aimed to be less niche in terms of the references or sub-genres they tapped into, so he could find a new audience. This led to his first hits, “Synthetic Corporation” - which would also become the name of his label - “Remember Last Summer” and “Formatted Excess”, as well as his most popular track to date, “Playa Shit”, with over 11M streams on Spotify. The upcoming album’s title, Short Term Agreement, is a playful reference to his unyielding desire for independence and productivity, and his eagerness to preserve the personal freedom he turned into strength.
Yet NxxxxxS is never one to refuse support, and he has now joined forces with Because Music & Mad Decent to further establish himself as a producer at the international level - alongside Diplo especially, who is a case in point - so that this understated and ever prolific artist can meet his ambitions of widening his audience and have his name known by all.
And so the tracks on Short Term Agreement serve as the foundation for NxxxxxS' new identity, featuring a rich and diverse array of sounds thanks to the numerous guests involved: London rapper Jeshi - a new British rap phenomenon also freshly signed to Because Music, French rappers 8ruki & Bitsu, Canadian Freddie Dredd and American underground talents Pollari . Avoiding the pitfalls of a compilation-like producer album, NxxxxxS has once again carved out his own style from the modern hip hop rule book.

In other words, NxxxxxS’ constant evolution has brought us this much closer to solving the mystery that is his name.

Pointillist club rhythms and dense, porous dub clouds encircle the Wrecked Lightship as Laurie Osborne and Adam Winchester set sail for phantom islands once more. The nocturnal boatswains chart a course guided by pronounced percussive impulses, using physicality to navigate the looming atmospheric pressure that has become their signature style.

Opening tracks ‘Arial’ and ‘Third Law’ speak to the roots of Osborne and Winchester’s respective work as Appleblim and Wedge, dealing in dancefloor abstractions where techno, electro and dubstep once stood, but there’s much more at play than simple genre tags could ever express. ‘Third Law’s electro-static interference calls back to Winchester’s work in Dot Product, while the twitchy urgency and gnarly bass echoes Osborne’s ALSO project with Second Storey.

Wrecked Lightship is an anchorless concern, free to drift into experimental waters if the currents surge that way, and so ‘Kill Mirror’ and ‘Hydrotower’ head away from forthright structures to play around with sound design and full-frequency manipulation. It’s too kinetic and jagged to be considered ambient, even if it willfully shirks the dancefloor. But for every starboard swerve there’s a prevailing wind, and the likes of finely-tuned club weapon ‘Take It Back’ whip ahead with laser-eyed focus.

Nailing their split interests between immediacy and the avant-garde to the mast, Wrecked Lightship deepen the reach of their project on their second album. Whatever shape a specific track might take, Oceans & Seas serves as a paean to the art of sonic manipulation and spatial processing.

Written and produced by Adam Winchester and Laurence Osborne
Artwork by Chloe Grove
Layout by Takashi Makabe
Text by Oliver Warwick
Mastered and cut by Simon at The Exchange

A limited edition of 300 copies of this 1985 masterpiece, remastered and presented in a renewed artwork. Berlin School synth sequences, American minimalism vibes, new age and oriental influences, guitar-synthesizers, genius arrangements... A masterpiece exploring the emerging MIDI technology of the time. A transportive selection of calming ambient soundscapes punctuated by glassy synth work and meditative drum patterns.

Acclaimed by many, Steve Roach himself said: »I heard Traces on vinyl back in the early 80s. It is still one of my top 10 albums. There is just an elegant, efficient, and emotional quality about it that just holds up like it was created today. A truly timeless piece of beauty.«

Recalling the »Traces« times, Wøllo explained: »I quit all the bands I played in. I wanted to work on my own using the modern electronic studio as an instrument, like a painter with his oil canvasses. I wanted to make a music that had expansive synthesizer textures and sequencer patterns, layered together with expressive melodic electric guitars. Working with depth, time and space. In those years in the early eighties the studio technology was new and revolutionary, and I wanted to explore all the new possibilities. To be able to control the infinite variations of electronic sound, using an endless palette for creative expression«.

Finally, a YouTube comment about the record that we enjoyed: »This sounds like vaporwave before vaporwave had anything to be nostalgic over«.

Glitching through pop music, cruising around the borders of the avant garde, passing by the edge of coldwave and tumbling into dance and club vibes: after her debut Bad Woman Céline Gillain is back with her second album: 'Mind is Mud'.

On Mind is Mud' Gillain let herself sink in the swamp of emotional confusion, the perpetual brain fog caused by a post Covid-world asking herself: do we have to get used to paradox as a way of life from now on?*

A musical dissection in nine songs of the mudflow, a flow which reveals its rich complexity the more Gillain dived into it: from the demanding intro 'Together' Céline opens up her highly personal and unique vision, shifting between high definition lost dimensions and emotionsthe mud slowly transfers in a crackling and sparkling stream of consciousness.

The mud is well alive in all its weirdness and unclarity. At times, it even glows in the dark.

The answer to that question is yes. The story of Mind is Mud by Céline Gillain: "Music is a place where intuiting is a work in itself. For me, it's the one place where I'm in charge, free to think and do what I want. Mind is Mud is the fruit of a collaborative practice with a DAW, a research around the palliative power of rhythm and the dancefloor, music as a space where emotions and ideas merge, storytelling, the comic potential and imaginative nature of sound. I don't really write, I copy paste and then I arrange and rearrange. Every sound I use comes from software, field recording, Instagram, movies and midi scores I collect here and there. In the hierarchy of sounds, you might call them cheap sounds. The lyrics are collages as well, made of pieces of texts from various contradictory sources. In addition to using the voice as a vehicle for ideas, I investigate its percussive and polyphonic potentialities, the possibility to have more than one voice/mouth."

Co-released via Spinny Nights and Memorials Of Distinction, the debut release from fresh Bristol blood 'Grove' is now available on vinyl in the 'Big & Bad Edition' served with extra cuts & remixes, printed sleeve & printed inner.

Purveyor of lovecore, fabba and cakebeat, bestie and all-round DJ-inspo Angel D’lite blesses Ritual Poison with her ‘Re4mat’ EP.

‘Werk My Body’ is a swirl of feminine energy, empowered vocals blending with hardcore breaks and hyper bass, a four four switch warping temporally before the track drops again. Local Group return the remix favour from their own recent EP, slowing ’Werk My Body’ to a 140 emo-banger, trance melodies sandwiching a proggy mid-section, the bass bumping throughout.

‘R u Ready’ keeps the NRG and BPMs high, breakbeats rolling over booming sub and dubbed out rave stabs, the sexual charge of the female ragga vocal frank and unashamed. ‘Re4mat’ signs off, the hallowed B2. Drawing on rave anthems of the past, it looks boldly to the future. 
“This particular historical juncture holds possibilities for change that we’ve never before experienced,” declares Angela Davis, as the euphoria subsides for a moment. ‘Re4mat’ and start again.

No More Mailouts label boss Sir Hiss, provides the latest release on Innamind Recordings.

Old skool and reinforced legend Alpha Omega returns with another Monster killer EP and in true Alpha Omega style, he does not hold back and gives you a selection of various beats and styles.

Everyone is already talking about Monster Killer which has already become a dance floor hit with vocals, stabs, and amen edits that make you lose your shit on the dance floor. Then takes you on a technical Journey with sciences 95 followed by beautifully crafted tracks Crystal Ball and Look Into My Eyes.

In a blizzard of delirious sonics and twis’ up samples extracted from the annals of dancehall and ragga, Seekersinternational return to Sneaker Social Club to double down on the manifesto they laid out with the original RaggaPreservationSociety EP way back in 2016.

As ever, the SKRS magic lies in their ability to convey a deep affection and serious dedication for the source material while simultaneously getting shamelessly weird with it, taking the mutant tendencies of dancehall’s wildest instrumentals and injecting some added cosmic sauce into the mix. On this new record, they’re also embracing the volatile potential of junglist breaks - always intrinsically linked to Jamaican music at the point of inception, especially in the rough and ready daze of ragga jungle.

‘No Parasites (Lickshot)’ is a fierce mission statement, raining down mayhem without ever slipping into familiar modes - the emphasis is on the ragga, the jungle is there as a piquant flavour in the stew, but as ever the SKRS sound remains entirely out on its own. In contrast, ‘CaughtUp (HeartBreaks)’ almost edges closer to hardcore structures, but something keeps slipping in to run the interference, hovering just beyond perception for that all important woozy feeling.

‘2GoldChain (DriveUCrazy)’ is cut up enough to be another interstellar voyage, but here SKRS keep the music back in the mix and let a tapestry of chat lead out front as though capturing a casual street level chaos - bewildering and familiar in equal measure. ‘OriginaloftheOriginal’ completes the set with an earth-shattering script flip once more, coming on like square wave grime and half-speed breakbeat set to emotional stun. If it takes a minute to make sense, that’s because you’re hearing something entirely new.

Infernal Sounds return with their DIGIV series and with this instalment they focus on the catalogue #005 - 008. Hypho, Abstrakt Sonance and the vocal wizardry of Rakjay kick off the release in fine style, hitting you with the rough and tough VIP sounds of 'Take It Or Leave It', before the release takes a more surreal and somber twist with one of the standout tracks from the DIGI series from last year, 'How Do You Know' by Darkimh. 'Lighthouse' by Sordez provides you with a slice of 2-step, shaken with garage flavours and a pallet of punchy flavours. Substrada rounds things off with the rambunctious 'Daka' - a track that's been battering dancefloors for the past year, giving you the perfect balance of bassweight and percussive notes.

More than a decade after the release of ´Land Lines', the mythical Humboldt County, California based duo of Brian Pyle and Merrick McKinlay reappears seemingly out of nowhere with 'Atheistsaregods'. With past releases on such cult-like labels as Root Strata, Weird Forest, Blackest Rainbow or Digitalis, Starving Weirdos were an indelible part of a sprawling and loose network of artists in Northern America whose DIY work ethic and extreme activity revolved around shoestring-budget constant touring, numerous limited editions on CDR, tape and vinyl and a relentless drive to push the boundaries of genre.

Out of that cauldron, Starving Weirdos stood out as one of the most persistent and visionary acts, developing a mind altering body of work that went from warm soundscapes through droney digressions, freeform improvisation and raucous noise summoned from a myriad of instrumentation and low budget processing - vocals, keyboards, violin, flute, percussion and an assortment of less identifiable sound sources. 10 years on their legacy remains a timeless and wildly under-appreciated one, but hopefully this new album will shine a light on their idiosyncratic approach. As time itself was never a constraint. This is music suspended outside of it.

Right from the start with the echoing percussion, dissonant keys and processed vocals of 'Haiku Nagasaki', 'Atheistsaregods' draws a continuous flux of psychedelic elevation that goes from the gloomy electronic motifs not unlike the early Cluster vibes of 'Invocation' into the dank percussive maze of the appropriately titled 'Barulho do Samba'. The self titled track induces a sense of post-apocalyptic vertigo via hallucinatory scraps of voice, suspended synth tones and reverberating field recordings, connecting into the droney mystics of 'Dudukahar (Reed Prayer)'. Coming full circle, 'For Vinny' brings back the echoing percussion amidst hypnotic cello lines until it drifts off into the unknown. With the same palpable sense of urgency, Starving Weirdos feel as vital as ever. And even if we didn't realize it we were in need of them. Welcome back.

Dropsonde was originally released by Touch (UK) in 2006. This is a reissue with seven previously unreleased recordings.

Widely regarded as one of Norwegian electronic music's most important artists, Biosphere's Geir Jenssen career spans nearly two decades, several albums, lots of remixes, various sound installations, commissions, soundtracks and even the odd Himalayan summit.

You may recognise his work without knowing it, so frequently does it crop up on TV trailers and idents. In the early 1990s he was a pioneer of so-called 'Ambient Techno', but since then, he has refined his sound into something more magnetic and enduring.

Dropsonde' isn't a soundtrack like the interwoven 'Substrata' nor an episodic journey in the way that 'Autour de la Lune' is. Here Geir Jenssen is pushing new directions towards the jazz colours of Miles Davis and Jon Hassell, whilst re-invigorating the pulse and projection of his signature sound: a hypnotic combination of pleasure and dread.

The spatial aspects some have dubbed "Arctic sound" but it summons strong feelings, or as Exclaim from Canada put it, "in order to climb higher, you must first go deeper". Jon Savage adds: "As with all of the Biosphere albums, the music draws you in and makes you want to listen and feel. Jenssen's work acts on a very emotional level, one that encourages you to drift away into a haze of images and scenes brought to you by the music, where spectacular beauty hides unseen danger. Intense and moving, but comforting and soothing at the same time."

A 'dropsonde' is a weather reconnaissance device designed to be dropped from an airplane or similar craft at altitude to take telemetry as it falls to the ground. It typically relays information to a computer in the dropping airplane by radio. The fall may be slowed by a parachute. Information collected by a typical dropsonde may include wind speed, temperature, humidity, and atmospheric pressure.

Embodying the mutant nature of club music in the modern age, Cocktail Party Effect comes bowling into Sneaker Social Club with a taut, wiry sound which joins dots and melts barriers at will.

The brainchild of Charlie Baldwin, who previously recorded as Kasket, Cocktail Party Effect has been forged over the past six years through heavy bursts of sound design anchored by soundsystem dynamics veering between 140 and 160 tempo zones. From 2020’s self-titled LP on Tectonic to drops on Osiris, Cold, Transfigured Time and more, Baldwin’s deftly avoided allegiance to any specific scene and instead deployed shock-inducing gear for DJs with fortitude to test on their crowds.

On SNKRX010 the commitment to physicality is prevalent across all four tracks, veering from the deadly broken beat barbs and artful fills of ‘Racka’ to the splintered breakbeat rushes and stop-start aggravation of ‘C.A.T.C.R’. ‘Grims8’ is perhaps the purest manifestation of the Cocktail Party sound though, all monochrome rigour with the contrast turned way up, powered by steely, gleaming rhythmic impulses and writhing with dense layers of sonic matter. Watch out for the glutinous bass snarl of ‘58bethe7’ though, which slams in sideways with an unabashed rave instinct crushed through a post-modern production lens.

Baldwin may be operating on his own terms, but on this 12” he demonstrates versatility to match his originality, resulting in four inventive dance destroyers tooled to bridge between styles, sets and scenes.

blue vinyl / 180 grams

From Karma Recordings comes their ninth EP. Another huge producer in Dead Dred brings his famous basslines and overhauls the track Tina by DJ Ande. Adding awesome brekbeats and you have a sure fire jungle anthem on your hands Oldskool style.

The second track on the A side is the creepy original Tina which builds to a scary crescendo. We are very proud to be introducing the first vinyl release from Dubious, an absolute jungle master and his track Iron Lung fits on this EP with ease.

Then last but not least we have an absolutely blinding Tina remix from the hardware extraordinaire 12Bit Jungle Out There who hails from down under. An absolutely brilliant 4 tracker not to be missed. Karma Recordings are going from strength to strength.

repressed !

***Taken from Leaked Whatsapp messages between DJ Absolutely Shit and Il Bosco***

Yo cousin Bosco...how's ya raisin widge?

Nice one for that last lot of dough i'm starting to well buzz off all this music industry bollocks now you know...mad what you can do with a catchy DJ name and pure absolutely mega tunes wot are miles better than anyone elses init?

Anyway i've been diggin' me fuckin' 'ed off ant I recently and got some more well primo gear for yas here...done 8 this time - was thinking if i'm managing to sort me life out banging out EPs for yas - if I do and album or two i'll be mega wedged in no time deffo init.

Yeah i'm thinking fuck this i need to get out this rank shit-hole quicktime... spotted this sick 3 bed thatched cottage gaff in Cadishead the other day, well smart. Detached n everything G, so can deffo get a proper grow on in there piece of piss. Gran's doin me ed in n all here G, big style the old slapper. She keeps robbin' me cash!
Turn me back for 5 mins and she's fuckin chonged it all the little turd... fuckin fuming ta fuck g cant wait to do one from that shitty flat...and if she thinks she's keeping me dodgy sky box she suck me widge haha.

Anyway shout me soon init. fuck knows what to call this album g. ask Pharaoh to come up with a name for it the turd. i can't be arsed thinkin... Seen him the other day actually bumped into him and that Crispy Duck guy who does those sick comics. They was outside some posh coffee gaff in Ancoats with a few other chumps lobbing bricks at a pile of other bricks down near the canal drinking pink hooch the turds. Get em to do the artwork for it n all g. if they want paying or owt tell 'em to suck me widge haha.

Nice one

From Karma Recordings comes their ninth EP. Another huge producer in Dead Dred brings his famous basslines and overhauls the track Tina by DJ Ande. Adding awesome brekbeats and you have a sure fire jungle anthem on your hands Oldskool style.

The second track on the A side is the creepy original Tina which builds to a scary crescendo. We are very proud to be introducing the first vinyl release from Dubious, an absolute jungle master and his track Iron Lung fits on this EP with ease.

Then last but not least we have an absolutely blinding Tina remix from the hardware extraordinaire 12Bit Jungle Out There who hails from down under. An absolutely brilliant 4 tracker not to be missed. Karma Recordings are going from strength to strength.

Mysticisms continues its global search for amazing music, hitting gold again with an EP of four previously unreleased house meets IDM with a dreamy edges by Romania's HAN aka Dan Handrabur, culled from early studio recordings between 1991-95.

After getting into record store culture he began building a studio and eventually gave up studying in favour of production, relocated to Vancouver, Canada, where his debut release (as X Drone with Adham Shaikh in 1993) began to establish Handrabur's role as an integral part its electronic scene. Appearances with Harthouse, Exist Dance, Eye Q Records and many more followed, plus collaborations with the legendary Phil Western. The four tracks here haven't aged at all, with nimble beats, action-packed arrangements and dreamy atmospheres, 'Give In & Resist' coming on like Rising High-era Mixmaster Morris crossed with the playfulness of Air Liquide, and 'Phantasme' revelling in the same cross-rhythmic fun that informed The Black Dog's classics.

Paryìa label head Marie Montexier announces the third installment on her imprint.

After kicking off the label with records by a.b.u.3.0.3. and Small Crab, Marie is having the Vancouver based acidic specialist Overland, who delivers three cutting-edge dance floor tracks that showcase her rich and versatile fusion of classic acid techno patterns and distinctive bass music rhythms.

Rounding off the record is a remix from the Chicago based up-and-comers Purelink. In contrast to Overland’s dark, fast, and bassy sound, Purelink re-arranged a trippy downtempo version of ‘Paloma’, resolving in the delicate, yet deliberate, chillout ecstasy, they are best known for.

* Hypnotic and seductive, Emika crafts Earthy Melodic Techno track 'Breath Cuts' using her breathy vocals, kick and devilish sub bass.

* Pleasure and pain, the euphoria Emika knows how to create sonically in order for her to lose her mind through the music and escape reality, composed and produced during the darkest chapter in her life, she mixes in the inevitable pain of a once locked-down Berlin.

* Breath Cuts is a journey-style dance track, for song-lovers or DJs that like to tell stories on their dance-floors. Emika reveals a poem in the middle of the song, a dream about being free again; 'I like to look out the window.. I like to imagine the clouds..'

* Norman Nodge, Berghain resident by night and lawyer by day, pulls out and enhances the lush ethereal vocal elements, remixing them further into an angel-like chorus, one can imagine the dancefloor in Berghain - people rushing from the sound while spirits float above them looking down.

* The two producers decided to provide listeners and DJs with a functional kick-less mix for advanced mixing pleasure.

Tangerine Dream haben die elektronische Musik grundlegend beeinflusst, seit Edgar Froese die Band 1967 in West-Berlin gründete. Sie legten den Grundstein für mehrere elektronische Musikgenres wie Ambient und Electronica, inspirierten Musiker und andere Kunstformen und wurden für sieben Grammys nominiert. In den letzten Jahren wurde ihre Musik in beliebten Fernsehserien wie "Stranger Things" und Videospielen wie "Grand Theft Auto" verwendet.

Nach dem Tod von Froese im Jahr 2015 halfen die verbleibenden Bandmitglieder Thorsten Quaeschning, Ulrich Schnauss und Hoshiko Yamane bei der Umsetzung von Edgars Vision eines Konzeptalbums, das versucht, Quantenphysik und -philosophie in Musik zu übersetzen: "Quantum Gate" wurde 2017 unter großem Beifall der Kritiker veröffentlicht.

In neuer Besetzung haben sich Thorsten & Hoshiko mit dem in Berlin lebenden Keyboard-Virtuosen Paul Frick verstärkt. Das Trio hat das Jahr 2021 in seinem Berliner Studio mit der Arbeit an "Probe 6 - 8" verbracht, einem ersten Vorgeschmack auf das kommende komplette Tangerine Dream-Studioalbum, das Anfang 2022 erscheinen soll.

Probe 6 - 8" sieht die klassischen Studioproduktionen und nächtlichen Echtzeit-Kompositionen der Gruppe als Blaupause für sich langsam entwickelnde Ambient-Strukturen, wobei der Sequenzer-getriebene Sound der Band an die frühen 1970er Jahre erinnert und sich mit einer üppigen, kristallinen Glückseligkeit der 1980er Jahre verbindet. Das Trio komponierte und produzierte 'Probe 6 - 8' mit vollem Zugriff auf Edgar Froeses Cubase Arrangements und Otari Tape Archive mit Aufnahmen aus den Jahren 1977 - 2013.

Der erste Track 'Raum' ist eine Anspielung auf die frühen Live-Studio-Performances 'Zeit' und 'Phaedra' der Band, wobei ein markanter schwerer Moog-Bass den Anfang und das Ende dieses 15-minütigen Einführungsstücks markiert. Diese neuen Aufnahmen enthalten auch zwei Remixe - die in Berlin lebende Komponistin und Produzentin Grand River (Aimée Portioli) hat "Raum" ihren unverwechselbaren Sound verliehen und "Continuum" wurde von Berghain Resident und Leisure System Mitbegründer Sam Barker neu abgemischt.

Ltd Edition!

Format: Clear Smoke Vinyl!

Mysterious Belgian experimental electronics duo Suumhow returns with their third album, Years Failed Successfully.


The album opens with the duo's signature melodicism and broken glitched-up beatwork. It then ebbs into more sinewy territory with swaths of pulsing static and overarching widescreen vivid ambiance. It's new ground for the duo that displays some rather aurally fitting symbolism to the state of the pandemic era, with ambient music on the edge of hysterical hope and arrested emotions.


It's a gripping album that displays fine detail in its coarseness and somehow relief in its muted melodicism. When things seem like they might be getting too ominous, the duo boomerangs the listener back to their harmonious and glitched-up world as a means of much needed escapism.