House Vinyl New Releases - News

First track 'Legitimacy' is a wonderful warm electronic song with club appeal by Cornwall based producer Zoe Leonard aka Simmerdown. Already featured on BBC's Hot List with her new project, Simmerdown melts influences of Hip-Hop, club culture and sampling to her very own unmistakeable sound.

Black Soyls are coming with 'Deep Shit Pt.3' an electronic club warmer paying homage to the vienna school of the 90s. Soothing chords and a plucking bassline beautifully paired with some jazz break style drums.

ITO who hails from Munich has already set the bar high with his debut release. Working out very complex rhythm structures over beautiful melodies in his flawless production style, his 'Citylights' is a love declaration to the downbeat genre par excellence.

'Mirrorsides' by David Hanke works with a heavy chopped main sample and brings some deeper feeling with it's milky sounding chords and it's mysterious sounding subtle synth melodies.

Magnonic Signals are proud to present the first of a various artists EP series, Neuromorphic Engineering Vol. 1.

Kicking things off master of deep electro Reedale Rise delivers a sublime immersive machine funk workout with ‘Anatalia’(+) oozing class from start to finish.

Next up we have the exceptional talents of Darren Nye fresh off the back of his superb LP on Childhood Intelligence.
‘Beyond The Stars’ (+ +) has 90’s techno and electro at its core with just the right amount of intergalactic magic.

On the flip we welcome back Mihail P with ‘Past Lives’ (-) a slice of pure Detroit inspired brilliance from our man in North Macedonia.

To close the EP label co-head Spin Fidelity sets the machines to warp dive with ‘To Tha Outta Limits’ (- -) a driving techno track perfect for that 3am boost of high octane energy.

Signals are getting stronger...

New imprint Distrito 91 emerges from its base located in Madrid to deliver a fluid transmission from the label head Fabio Vinuesa.

Side A offers two highly deep electro dancefloor cuts and Side B follows with the electro-funk vibe of Multilevel to the acidic darkness of Infected System. A perfect four-track EP of solid electroish sounds

Cuts is the first release of Cosmonaut for Breakfast Musik. The EP is a compilation of his latest productions, showing his versatility as a producer, with tracks flying in between electro, deep house, acid and techno, always on the hunt of his own unique style.

Welcome to the pleasant travel of Rovas 002. This V.A. gathers some rising talents across "el Rio de la Plata", where some of them are making their vinyl debut.

This is strong tech-house and electro tinged EP comes by the hands of Rulo (with his uruguayan trademark sound), Sauchelli (an argentinian producer based in Berlin) and our mysterious guy Na.cho. For the end of this journey, Neik (who doesn't need any further introduction) is delivering an abstract and mental synths sounds combined with delightful breaks!
Enjoy the trip!

Welcome To Binary Soulcode Records, A Label Who Is Born For The Love For The Classic Sounds Of Detroit Techno And Chicago House, Always Looking For New Ways Of Expression In Both Electronic Styles And Never Forgetting The Innovation That Both Styles Ment Since Their Birth In The Beginning Of The 80's.

Empty Editions presents the debut 12” from mysterious electronic outfit Taibach. Conceptualized by ABCs, Taibach has emerged from the shadows as a blunted East-Asian historical consciousness failing to return home after becoming a stranger to itself. With a nom de guerre which references both the infamous Slovenian proto-industrial group Laibach and their mythologized homeland of Taiwan, Taibach restages the classic thematics and aesthetic strategies of industrial music for a contemporary moment in which shifting balances of power between east and west herald new hegemonies and exhume old grievances. Their martial approach to electronics follows in a brood of decidedly cryptic underground music: drawing on the sound of classic industrial bands, early 90s techno, and more recent developments at the intersection of noise and rhythmic music. Conditions of escalating ethno-nationalism, imperialist ambition and decay, and historical revisionism within the Sinosphere provide the backdrop for the band’s grimly expansive theatrics, which hint at the possibility of ideological resistance through tactical sign play and subversive affirmation. Acting as a necessary corrective to a commercially bloated and self-satisfied Asian cultural sphere, Taibach embraces futile Taiwan-based nationalism by celebrating the seldom-criticized reactionary tendencies of the region as a document of its history and its current political impasses.

Taibach’s debut LP contains a rawness and intensity that excels in club contexts, spilling over into more varied strands of experimental and underground music. While the music itself is primed for big room sound systems, the omnivorous use of guitar, effects pedals, and sampling techniques alongside stalwart drum programming also allow for more intimate listening—soundtracking both club depravity and solitary walks in equal measure. The kosmische proto-electro bite of Side A opener “Spicy Test” furnishes a terse blueprint for Taibach’s aural vocabulary: skeletal drums brought deliberately into the red provide a burnt, metallic underpinning to the record’s five tracks. Across the LP, rhythm is complemented by asymmetric washes of tape hiss, feedback, and filtered voices which ride alongside the drum patterns. Tracks “You Are Shit!” and “Enemy Inside” carve out wide expanses for filtered chords and sequenced synths to reflect against uncoiling rhythms. Astute listeners will discern a long engagement with UK, European, and US dance music from the 1990s up to the present in their inspired ability to set the drum machine against a distinctly East Asian industrial backdrop—channeling the sound of a dystopic future of armed conflicts and ground invasions where the hastily built edifices of Confucian capitalism resurface as detention centers and fallout shelters. The LP culminates in “Rocket (Live),” an opus of live sound system music that carries with it the hot heat of a subterranean, neon-lit industrial catacomb filled with vampiric club-goers. As guitar noise billows out over a militant rhythm that recalls everything from darkwave to Container (or Alan Vega & Martin Rev’s early Suicide records) the track builds into an assailing polyrhythm that showcases a dancefloor severity at the height of their transportive powers.

Inside the sleeve is a photocopied insert of a watercolor painting depicting an anonymous man hanging from a streetlamp. A sign with the Chinese characters 漢奸 (“traitor”) hangs around his neck. Taipei 101 Tower looms in the distance, once the tallest building in the world—a conspicuous symbol of Taiwan’s American-style capitalist power—now shrouded in the fog of war. Absorbing the anxiety of these times, Taibach’s debut provides an anxious soundtrack looking for the old military bunkers underneath spreading skyscrapers and machines chorusing the rising tides of global unrest.

Monday morning in the rush, buzzing from turning a sprint into a jog. Quick stomps with heavy boots to spice up the season of endless beverages. Leave the temple to fix your screws because the whole gang stood with tears in the rain as Susan dropped this boggling compilation of classic London heat-stroke inducing vibes for you and only you. Big up Asquith for the Lobsterian fire. Susan shows deep approval. Ain't nothing regular degular about this one, folks.

Rotterdam's mysterious studio-wizard strikes on the joyful label of Baltermore isle. Get alleviated and dream on!

Wasting no time, Winthorpe Electronics is back on the pitch with our second release a four track EP from Cignol

Carl Finlow has been one of the most singular voices in electro for over two decades. From the records he makes under his given name to his numerous collaborations and alternative monikers, Finlow's music is suffused with playfulness and imagination. Silicon Scally is the most prolific of Finlow's alias projects, and on Dormant, the third Silicon Scally release for Sheffield's Central Processing Unit, Finlow constructs four pieces of thrillingly futuristic broken-beat electro.

From the opening cut 'V Electro' to Dormant's closing title-track, Finlow's production is incredibly detailed here. These tracks never stand still, their little cells of synth and percussion always evolving. When combined with some stomping drum programming, the final result is an EP which has that rare balance of endless danceability and genuinely innovative production. It's the sound of a master creator letting loose while also managing to keep everything in the pocket, a marvel of moving parts.

Dormant's tone is set from the first booming beats of 'V Electro'. The track's dense mesh of dystopian synth nodules will have you thinking of the nastiest, scuzziest Unit Moebius tune - if the aliens came to take you away, 'V Electro' is what they'd be playing as they beamed you up. Following track 'Bode' tweaks the vibe of 'V Electro' in a couple of key ways, jacking the tempo up to around 140 bpm while also incorporating some funk-flexing organ stabs which give 'Bode' the flavour of a Herbert production blasted into hyperspace.

Dormant's B-side kicks off with 'Proximity Sensor', a cut whose steady drum pulse and chunky bass motif take us back to the very earliest days of rhythmic machine music - Kraftwerk, Depeche Mode and the like. Mind you, the track's slinky synth lines are pure Drexciyan machine-funk, a vibe which is kicked into overdrive on Dormant's eponymous closer. Finlow's most intense production on the record, 'Dormant' is a polyrhythmic whirl which completely sweeps you up, leaving you no choice but to submit to its devilishly danceable impulse.

After a few recent drops which have expanded the sonic world of Central Processing Unit, Silicon Scally's Dormant EP is a reminder that the Sheffield label still does circuit-frying electro better than anyone else out there.

RIYL: Jensen Interceptor, Unit Moebius, Drexciya, Assembler Code, James Shinra

The Eye of Time is the solo-project of French musician, Marc Euvrie. His new album 'Myth II : Need To Survive' is the second part of a trilogy of releases about the path that humanity takes over the ages. A multi-layered tapestry of experimental sound, 'Myth II : Need To Survive' merges darkness and hope via minimalist beats and stark bass.

Myth is a word with ambiguous meanings in the dictionary, but all these lead to the same conclusion. We could decide to see things on the bright side, or to a have a more dramatical (in the literal sense) look on it. Like if one species is looking at another, and in a different era. Myth is a feedback to the tragical events of our time, to what people have to endure nowadays in order to survive, as well as the refugees travels, and the resistance against capitalism that is growing all over the world. Myth is also a particular way to see things, to take sides with history. When we talk about ancient political activists and revolutionaries, resistances to the established order, we make the choice to transform it into a myth, a history full of heroes. But the past is the present. And our present will be the past again. It is on us to take action in order to avoid our inevitable end.

On 'Myth II : Need To Survive', Marc adds, 'The period between the release of the first two records of this trilogy is a most significant one in my life. 'A Need To Survive' is the perfect title to name it. I have fought darkness. I have faced myself. I've been into the deepest introspection ever, but I'm on my way to recover, and I will never be the same again. I guess I have faced the worst but most important period that everybody will face in his life. To know yourself better, to see the bad and the good things you're capable of.'

He goes on to say, 'I feel that the album trilogy I started in 2016 will match my path to become a better person in balance. 'Myth I : A Last Dance For The Things We Love' corresponds to my falling into darkness, 'A Need To Survive' to finding the energy to rise again and the last record which will be named 'To Heal', corresponds to me right now, feeling positively mature.'

Euvrie's musical development is deeply connected with the French DIY punk and hardcore scene, although he has been classically trained. He started to play piano at 9 years old, composed his first pieces at 15 and studied cello at a Conservatoire after finishing school. Euvrie played in several bands before, being inuenced by Claude Debussy, Philip Glass, Frederic Chopin, J.S. Bach, Michael Nyman just as Godspeed You Black Emperor, A Silver Mt. Zion and Portishead, he began to translate his personal reection of our complex world into music, which initiated The Eye of Time.

His extensive self-titled debut album was released in spring 2012 and exposed a dark look on the present, past and future. His last albums were promising a glimpse of hope ('Acoustic') or pitch-black despair ('Anti'). 'Myth I : A Last Dance For The Things We Love', released in 2016, dealt with introspection, impregnated with minimalistic moments, where piano and cello write the story of loneliness and calm, accompanied by both grim and hopeful melodies.

The cover artworks of the 'Myth' album trilogy display pictures by Emin Özmen, a winner of the world press photo award. His work is focused on the situation in Kurdistan, Syria, Turkey and the "refugees". His work has been published by Time magazine, The New York Times, BBC, Guardian, among others.

Markus Sommer and Phil Evans team up as MSPE and present a 2x12" on a new sub-devision of their own imprint Pager Records.

CAIN closes out his Fine Grains triptych with a vivacious EP of signature bass shuddering, polyrhythmic drums. ‘High Call’, his first 12” on the now Amsterdam-based label, offers 6 original tracks and a remix by Japanese producer Jun Kamoda in homage to the revelatory spirit and pre-medieval origins of carnivals. Artwork by Dutch/Scottish artist Roos Dijkhuizen created through ink and water drawings.

Colours emerge from the dark, glowing torches and fire embers flicker through the night. ‘Caapi’ warmly draws you into proceedings, an alluring tease of soothing chimes and preview of the infectious shuffling drums that will follow. From ‘Apsara’, Cain sets us on the front foot. A pounding, stuttering rhythm ignites the track, as spinning chord sounds echo and a haunting, hallucinatory vocal lead us on. The carnival is fully alive in ‘Gundon Night’, a sinister and menacing broken track steered by Cosssack warrior chants. High on the mountain we reach the pinnacle of ‘High Call’, a triumphant lead track with CAIN’s recognisable warm and driving, rhythmical drum patterns. The otherworldly psychoacoustic melodies of ‘Taiyi’ and slower-paced triplet drums structures of ‘Zetwal’ make these tracks the outliers of the EP, but they also complement and help to complete the picture. Jun Kamoda’s zany turned up marching techno take on the lead track signs out ‘High Call’ in playful, multi-coloured order.

Censor announces their first release of 2020 that sees a new entity enter the crew’s orbit - the Electro & Techno assassin: Assembler Code.

After a slew of releases on label’s such as Cultivated Electronics, CPU, International Chrome, Boysnoize, Mechatronica (alongside Jensen Interceptor) & Dance Trax (alongside Alex Jann) Assembler Code brings his signature dystopian machine workouts & off-world electronic technologies to the Censor camp.

Monochrome initialises the release with a powerful, yet claustrophobic lead bass designed for the harder floors, which is driven continually forward through a focused drum workout that Assembler Code is so well known for.

Perimeter Inspection creates deeper contrast on the A-side via ice-laden synths that intrigue and breathe to allow space and time to be torn away from the super-controlled beats.

Generator is the outer on the B, and gets straight to work via an evolving, electric drum sound that arcs, twists and races alongside intuitive bass edits all accompanied via a tripped out vocal ready for the dark rooms.

Lateral Transfer is the final track of the EP and cuts through dimensions one world at a time using a sonic network of vocal triggers, saturated bass elements and hard-wired percussive sounds straight from the Assembler Code mainframe.

Having Ballet Mechanique as the first artist in our new series 'The Secret Sun' is kind of a dreamlike reality for us.

With this new series we want to bring forward a legacy of electronic music that is channelling higher positive forces and transcending space and time.
For us, Ballet Mechanique's music has always done just that.

Digging into his archives, Jeroen brought to light a treasure trove of unreleased music that probably would have been left unheard forever...

The tracks on this first 'Collection 1' were written and produced between the years1992 and 1999.

Returning to Opal Tapes after the highly lauded ‘Royal Dungeon EP’, Medellin, Colombia’s Filmmaker issues a damned statement in the form of ‘Late Stage Earth’ a 4-tracker of scorched electro and slamming EBM. Perfectly poised and composed dance music formed over pointillist electro melody and swung out druggy drum programming replete with wheezing pained pads. Filmmaker continues a tear through 2020 with some of the most tuneful and memorable song writing in electronics

Purple wave is the manifestation of Rico Casazza. An EP awash in sea of emotional overtones from bittersweet to electro punk, with a contemplative gesture yet still dance-able. Purplewave aims to bring something deeper to the surface. 4 original tracks with two elegant remixes from Silicon Scally and No Moon.

200 limited copies pressed (No Repress)

Superlux is the latest project from Mike Gill, Nick Gynn and Johnny Hunter. With years of combined experience in the
industry, each member brings their own unique flavour to the mix. The end result being the trio's debut release, Superlux
001, on their new imprint: Superlux Records.

The EP begins with Mike Gill’s Noisy Rework of White Noise . A breakbeat style cut that harks back to the early days of dance
music, stuttering percussion and intermittent hi hats help form a track that feels modern yet mature. Chupa Track continues in the same vein, as a mechanical synth rotates alongside echoing calls and robot-esque keys, before Take One ups the tempo as
reverberating pads clunk on top of a slow moving bassline. Rounding off the EP is the Dawl remix of Take One . A similarly eerie number, pulses and beeps merge with choppy breaks to form a futuristic, extra-terrestrial sounding cut.

5th edition Hamam House takes on further trips to the intergalactic dancefloors with middle eastern tangled dance
music

Andy Jaggers (aka ADJ) is a name that has been synonymous with the underground electro scene since the mid-nineties.

Andy is one of the understated contributors to the sound; in one dimension pushing the music of others in running one of the best record shops London has had to offer (IQ) as well as forming his sonic niche across his labels and own productions.

Andy released his early works as 3 Elements on his own label Analogique, delivering 4 now very hard to find records in between '95 and '96. Unfortunately for us here at knoe towers the source DATs have been lost to the perils of studio moves. Later he would set up Pyramid Transmissions with Pathic to release their own productions and those of likeminded individuals pushing the envelope of the electro sound outside the normally accepted boundaries. Electro as a genre has always sounded like the future however Andy manages to take it into the fifth dimension and beyond, overlaying IDM techniques and soundscapes onto the solid backbone of Detroit electro.

For Those That Knoe has worked extensively with Andy to put together a deliciously cohesive eight-track compilation of his works spanning the more recent period of his production career. The LP includes Pyramid Transmission vinyl favorites, cuts only previously available on his digital albums and some pieces released for the very first time.

Brianna Price turned plenty of heads when, earlier in 2020, she swapped out her well-worn B.Traits moniker for the new title of Baby T. A change of name also signalled a departure from the booming techno-centred sound Price had been pedalling as B.Traits - she promised, all guns blazing, that Baby T was about 'hardcore junglist shit only'. The project's debut drop, an EP for Samurai Music entitled Portra, put that manifesto into action, running the gauntlet of darkside drum 'n' bass, ardcore soundsystem techno and dark ambient.

From the whip-crack electronic drums which usher in Baby T's second record I Against I it is apparent that we're in for another wild ride. Emerging here via Central Processing Unit, Price meets the CPU sound halfway on I Against I's A-side, delivering two super-snappy broken-beat electro joints which both have a malevolent, dystopian edge to them. The levels are high from the off, with opener 'I Wish' fronting nasty, high-wire machine-funk that draws its strength from the Bunker, Djax-Up-Beats and BPitch Control sounds. 'Acid Science', another helter-skelter melange of needling synths and vocal licks, follows. Though this track's title may promise acid, the snaking bassline refuses to lock fully into the perpetual-motion madness of a TB-303. Instead, Baby T chops the lick up to move in and out of the drums, an effect that has one thinking of Cardopusher.

'Estrogen Attitude', the tune which kicks off I Against I's second-half, is an even headier brew. The intro skulks and broods, a pulsing kick-drum and intermittent 303 whirring in a cavernous atmosphere. You get the sense that something is brewing, especially given that the tempo has increased to junglist speed. However, when the breakbeats do enter Baby T opts to lurk rather than strike, locking into the sort of murky drum 'n' bass roll that wouldn't sound out of place on the UVB-76 imprint. This is jungle to shadowbox to.

The vibe of 'Estrogen Attitude' is inverted on EP closer 'We Could Disappear'. Beginning with a grainy, mournful ambience that recalls Biosphere and Kevin Martin, the track gently unfurls with the introduction of synthetic strings and muted breakbeats. If 'Estrogen Attitude' was indebted to Metalheadz, there is plenty of Goldie's more grandiose soundscaping running through 'We Could Disappear'. At the end of the track, the atmospheres dissolve to leave only the hum of sub - both a reminder of the bassweight principles that drive the Baby T project, and also representative of how I Against I has progressively etherised itself across its four tracks.

Baby T's Central Processing Unit debut I Against I tackles dystopian electro, impressionistic drum 'n' bass and dark ambient, all while adhering to junglist principles. This is a brave new world for both the artist and the label.

RIYL: Metalheadz, Pessimist, Mutant Joe, Cardopusher, dgoHn

Introducing a fresh new label concept from Robin Ordell. No Time County’s focus is music that brings a feeling of elegance to the dance floor. A deep interest for sounds has given Robin a refined ear and a unique personal style, which permeates into his vision for the label. On this first release we get three slinky cuts, each one representing the label ethos in its own way.

The EP begins with a cut from Robin’s collaborative project with Bruno Schmidt - Asper Bothrops. ‘Track 21’ is dainty yet punchy, rolling with vigour for almost 10 minutes. Throughout, the rhythm keeps you locked in tight, swinging beats complemented by an assortment of bleeps.

Up after that is ‘Backwash Intro’ by Robin on a solo tip. This track fuses soul and retro beats to create a captivating composition full of energy and mystique. Robin’s penchant for unusual sounds is evident from start to end with an almost frog-like motif in its croaky cadence.

Lastly, it’s Rudoh from Karachi. Featuring alluring atmospherics and a hypnotic bassline, this is an enchanting workout. A range of organic sounding percussion pushes the track along, while tactful production techniques ensure that the energy builds steadily.
Listen out for more from Robin Ordell’s No Time County...

"Following release on Furthur Electronix, Computer Controlled, AC Records, Lunar Disko, Seagrave, Alphabet Set & more, Irish producer Cignol makes his debut outing on 20/20 Vision with 'Past Futures'. The four track EP serves up potent break beat electro with razor-sharp acid tinges, deep baselines and atmospheric synths.

Cignol's ability to craft emotive soundscapes is exemplified on the opener 'Past Futures' with deep electro groove 'Virtual Array' following up on the A-Side. On the B-side 'Gantm' & 'Lessoned By Lessons' lift the tone into lighter spaces whilst still unfolding emotive melodies and driving break beat grooves.

Nick Araguay is born in Paris and lives in London. Not much is known about him.

'Radar' by Parisian DJ and producer NiKiT is Electronic Emergencies' first release in 2020. Two years after his debut, NiKiT has once again delivered a stunning mini-album. His idiosyncratic and particular style within the realm of techno flirts with electro, and sometimes even has a dubby touch. Compared to his debut 'Arcanes', NiKiT's sound has expanded and is more spacey, while staying powerful and very danceable. Celebrated Dutch painter Ditty Ketting conceived the mesmerising cover art.

A re-issued classic from the veterans of the genre, welcomed back via the Direct Beat Classics (DBC) label.

1) "Electro Techno" - Thunderous Street beats and cyborg vocals rule under the futuristic atmosphere of Detroit in this
legendary throwback of electronic funk. Still a signature tune in their catalog of greats...globally proven to start the
party.

2) "Black Planet" - A funky bass secured rhythm laid atop sparse percussion. Straight groove made to ride into your next
voyage.

3) "Electro Techno (MicroKnox Remix)" - Rehashed & restructured for the street...a splendid taste of the future from the
original material. Hyper tech-lines, subsonic bass & beefy drums remixed to rock venues properly. Electric, in full swing.

4) "The Flight" - Robotic rhythms standing tall against a cosmic backdrop of bass kicks & steely synths created for lift off.
Perfectly piloted into the Aux-Quadrant for your funk filled journey. Ride the vibe.

Detroit masterpiece, originally released on D-Bass Records back in 1997. Now fully re-mastered by Analogcut and distributed by Subwax.

Limited 12" single featuring remixes of a Moby & The Void Pacific's track 'Are You Lost In The World Like Me', from the album These Systems Are Failing Us.

Blanck Mass adds his own twist to 'The Light is Clear in my Eyes' whilst Nava Ryan, Zarva and Moby (the man himself) remix stand out track 'Are You Lost In The World Like Me'

Erik Travis aka Sound Of Mind back on Program Central with a killer 6 track ep! from the F.A.C.T. files. Recommended!

Ste Roberts delivers 4 high energy electro cuts on Infilrate.

After the first release in 2008, "Let Them Come" is already a timeless classic tune in all the underground house music spots. Now it's time for an official vinyl release including new remixes by the french producers "Gokin", aka Greg Gauthier and Alex Finkin.

Vinyl will feature Individual, hand illustrated sleeves.
Distraction combines thundering bass elements from darker techno with deeper, emotive pads and flourishes to create a meditative yet driving late night groove. Best used to hush dance floor chatter in favour of getting heads down and putting a shift in.
Static and Choke also play with juxtapositions of light and dark elements, with Choke being the firmer of the two. Both offer sounds ideal for creating trippy and introspective dance floor moments, while not allowing those hard fought for energy levels to drop.

2020 Repress! Obscure chicago trax from the '80's, epic and melancholic, dark and manic at the same time!

Vier Jahre nach dem Release von "Midnite Ride", einem der stimmigsten Alben aus Brenk Sinatras Diskografie, können sich Fans und Musikgourmets nun auf den zweiten Teil dieses Instrumental-Klassikers freuen.


Brenks ausgefeilte Produktionen ließen sich nie so recht in bestimmte Schubladen stecken, und auch dieses Mal schlägt "Midnite Ride II" mit einer Vielfalt an Soundbildern gekonnt eine Brücke zwischen Boom-Bap und Trap, zwei oftmals als unvereinbar geltenden musikalischen Lagern.


Das Album spiegelt wie kein anderes zuvor Brenks aktuellen Mindstate in puncto Soundästhetik wider. Dennoch bildet "Midnite Ride II" eine nahtlose Anknüpfung an den ersten Teil und eröffnet gleichzeitig völlig neue Sphären aus dem Klanguniversum der Wiener Beat-Instanz.


Mit "Midnite Ride II" beweist Brenk eindrucksvoll, dass man seiner musikalischen Basis treu bleiben und dennoch den eigenen Sound organisch und zeitgemäß weiterentwickeln kann.



Kopfkino an - die Fortsetzung des mitternächtlichen Trips durch Brenk Sinatras einzigartiges Beatunviersum kann endlich weitergehen!

Gitkin's music exists somewhere between primal, rootsy memory and distant exotic yearning — A dusty bordertown where the familiar blends imperceptibly into the enchantingly foreign.

After a long and fruitful run as a bandleader with relentlessly touring party-rockers Pimps Of Joytime and a Grammy-nominated country blues collaboration with Cedric Burnside, multi-instrumentalist Brian J set out to "explore tonalities I'd never messed with," as he puts it. It was a release from "having to write lyrics or involve my voice," he notes, and so the (mostly) instrumental sound of Gitkin came into being.

Reviews of Gitkin's first LP grappled with descriptors, tagging it vaguely as "cinematic" and comparing it favorably with Khruangbin. True, the music is largely wordless, emotionally evocative, and guitar driven. But it possesses an alluring alchemy all its own.

Gitkin's first release, 2018's well-received Five Star Motel, amply demonstrated his ease with earthy funk and comfortably-cut rhythm. On his new full-length release Safe Passage, the itinerant guitar slinger broadens his already rich palette with melodies informed by Greek and Middle Eastern modalities, Peruvian Chicha and Tuareg Saharan guitar styles. No gimmick, this juxtaposition of gut-bucket blues and funk low-end with unexpectedly twisting lead phrases highlights the intense flavors found in each savory ingredient.

Recorded at his home studio in New Orleans, Safe Passage showcases a new batch of immediately engaging, repeatedly satisfying cuts, ranging from surf exotica ("Cat Nip") to raunchy roadhouse stompers ("Fools Gold" and "The Drive") to dreamy vocal cuts "Foot Steps" and "Hold On" to the floating finale of "Safe Passage."

Gitkin's production radiates character and warmth, leaning on soft-focus vintage mics, dubby spring reverbs and the quirks of a tape console. Further enhancing the intimate vibe are guests like veteran Chauncey Yearwood (congas) and New Orleans local "Spug" Smith, who provides a sousaphone low-end on the cumbia-not-cumbia "Spug Life." Carol C lends her striking voice to three tracks, including the strutting single "De La."

Safe Passage will be released by Wonderwheel on September 18th, 2020 and will be available on vinyl, CD and digitally.

Cape Cira is the lush, hypnotic debut album by acclaimed British producer K-LONE.

In contrast to his clubbier productions, Cape Cira sees the producer explore the full melodic and textural potentials of his sound, drawing influence from ambient, fourth world, and modern classical music to create a work more closely related to the outputs of SND, Jon Hassell, Burnt Friedman, or - more recently - Don’t DJ and Visible Cloaks.

The result of a short creative burst during a grim British winter, the record explores music as escapism, comprising a series of lush, warm vignettes that demonstrate music’s unique transportive power. Cape Cira takes place in a sensuous sonic world between the natural and digital realms: FM synthesisers mimic acoustic instruments, tuned percussion and bird song; and found sounds and field recordings are processed with a hyperreal sheen.

The gift for composition only hinted at in K-LONE’s work to date is on full display here. The artful and intuitive simplicity of the record’s melodies belies the complexity of their composition, where looping polyrhythms create shifting, unresolved patterns and ever-changing counterpoints.

Cape Cira marks the first full length release on Wisdom Teeth - the label he runs with friend and collaborator, Facta. The album stands as an exciting next step for both the producer and the label itself, furthering their reputation as key young voices in contemporary electronic music.

Part 2 of Red Rack’ems Disco Banger series brings 3 more killer cuts to the table. WYBES indeed.

Bruno Schmidt's Domesticated imprint returns with its third release, heralding the comeback of noughties minimal house hero Marc Ashken. Under his new alias SHKN, he's already presented a couple of EPs on London's Subsequent, in addition to releasing tracks recently as Thread and Lost Property (with Ben Micklewright). The track titles on 003 display what's possibly his original date of creation, we're just pleased they didn't just got stuck on his hard drive. Starting off with a curveball in the form of off-kilter electro funk jam "01_06_17" it is soon business as usual from this stalwart of the minimal scene: from the hypnotic and bass-driven afterhours groove of "9_9_2015" to the quirky and reductionist glitch funk of "10_10_16". Welcome back, Mr Ashken!