Buscar:beneath

Beneath the Massacre hit a sweet spot on this EP, avoiding several banalities and pitfalls that the genre is known for. There isn’t an obnoxious overuse of directionless wank and breakdowns. In fact, both are put to use as good songwriting techniques in applying some semblance of dynamic. The songs always seem to have a purpose and a realized direction. Marée Noire just feels right on just about every level. The production lends to a beefy and chaotic atmosphere where the low, thundering riffs and blasts of double-bass will certainly put subwoofers and good headphones to ample use. Beneath the Massacre provide what is in my opinion the right kind of brutality and heaviness. – HeavyBlogIsHeavy

"Incongruous is packed with nearly impossible guitar work that puts just about every other tech-minded band to shame. Notes come flying at an intense speed from all fronts (sans vocals) with mechanical precision. Some of the instrumentation is just absolutely mindblowing; how they manage to make this much wank listenable is beyond me. It really is an impressive feat all around, especially when you consider the nightmare it must have been to track songs with this level of speed and difficulty across multiple instruments and have it sound so tight and clean. Incongruous is certainly a tech-death marvel. This is one of Beneath the Massacre’s strongest releases yet, from the larger-than-life production to the impossible guitar acrobatics.

Kings Chamber reached out to us and sent us a box this latest 7" release (edition of 100) - containing a very wicked cut by Streetboxxer (Samo DJ & Hidden Operator) (giving us good '0800 dub' vibes with added doses of casiotone fun) and there's a great counteraction on the B side, with this murky, murky remix by Beneath.

This disc's been on repeat - addictive stuff.

Edition of 100, hand-stamped.

James Blunt’s greatest hits album, 'The Stars Beneath My Feet (2004-2021)’ is out November 19th and celebrates songs spanning a stellar 17-year career that has spawned over 23 million album sales, a global smash hit with ‘You’re Beautiful’, two Brit Awards and two Ivor Novello Awards, as well as receiving five Grammy Award nominations.

Amongst the string of hit singles, 'The Stars Beneath My Feet (2004-2021)’ will also include four new songs (‘Love Under Pressure’, ‘Unstoppable’, ‘Adrenaline’ & ‘I Came For Love’), as well as four exclusive live performances from around the world, including the Glastonbury Festival. It also features stunning tracks from his latest Gold-selling album ‘Once Upon A Mind’, including ‘Cold’, and the heartbreaking ballad for his father, ‘Monster’.

James’ classic 2004 debut album ‘Back To Bedlam’, was recently named as one of the top ten best-selling albums of that decade, and with ‘Once Upon A Mind’, James Blunt reinforced his reputation for writing honest, emotional songs that people can easily relate to. The album marked a return to what James Blunt does best – writing classic songs that touch both the heart and the head. Another side of James - his wit and charm - have in recent times been showcased via his always engaging Twitter account. James has also announced a huge UK arena tour for 2022.

Livity Sound is proud to present a 12” of lean, refined club tracks from UK stalwart Beneath. The Mistry and No Symbols boss has spent the past 10 years exploring a sound which nods to the legacy of bleep techno, dubstep and UK funky while leaning forwards into its own distinctive space.

His stripped-back blend of crisp drums, sprightly hooks and sub bass are instantly identifiable, but across four new tracks Beneath displays the versatility within his reach. Stomping four to-the-floor rollers on the A side face-off with minimalist dub and weighty, synth-rich expressions on the flip that move beyond the demands of the dancefloor.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

1979 gelang mit der Single 'The Nips Are Getting Bigger' und dem Album ‚Get Wet' das erste Mal der Einstieg in die Top 20 der australischen Charts. Für die Single gab es nach Veröffentlichung in Großbritannien eine Platzierung in den Top 40 der Independent-Charts. Die Auskopplung 'Come Around' aus dem 1980er Album Espresso Bongo konnte sich ebenso in der australischen Hitparade platzieren wie '(Just Like) Romeo and Juliet', das jedoch auf keinem Album zu finden war. 1981 erschien das Platin-Album 'Cats and Dogs'. Die daraus ausgekoppelten Songs 'If You Leave Me', 'Can I Come Too?' und 'Too Many Times' waren die ersten Top-10-Hits der Band. 1982 ging Mental as Anything erstmals in den Vereinigten Staaten auf Tour. Dort entstand die Single 'I Didn't Mean to Be Mean', die von Elvis Costello produziert wurde. Mit dem Longplayer 'Creatures of Leisure' und weiteren Auskopplungen. 1985 erschien das Platin-Album 'Fundamental as Anything' mit den Singles 'You're so Strong' und natürlich 'Live It Up'. Für letztere Single gab es einen APRA Award in der Kategorie 'Most Performed Work' und einen 'Countdown Award' für die beste Single. Durch die Verwendung im Soundtrack zum Film 'Crocodile Dundee' wurde der Titel Ende 1986 auch in Europa populär und erreichte rund anderthalb Jahre nach seiner Veröffentlichung hohe Chartplatzierungen in Skandinavien, Deutschland, England, den Niederlanden, Spanien und Italien.
Die Doppel-LP enthält die größten Erfolge der Australier auf zwei farbigen LPs (Red & White Vinyl).

Sepultura’s acclaimed 1989 album, Beneath The Remains, marks the band’s major label debut on Roadrunner. Widely regarded today as a thrash-metal classic, the album perfectly distilled the Brazilian band’s potent mix of piercing melodies and pummelling rhythms.

In December 1988, brothers Max (guitar/vocals) and Igor Cavalera (drums), Paulo Jr. (bass) and Andreas Kisser (guitar) recorded Beneath the Remains in Rio de Janeiro, Brazil with producer Scott Burns. Soon after it's release in April 1989, the album was hailed by fans and critics alike for standout songs like “Inner Self,” “Primitive Future” and the title track. The album has been remastered especially for this collection.

The Deluxe 2CD Edition also features nine unreleased “mixdown” recordings taken from the Beneath the Remains sessions at Nas Nuvens Studios in Rio de Janeiro. Highlights include versions of “Lobotomy” and “Mass Hypnosis,” as well as instrumental versions “Slaves Of Pain” and “Sarcastic Existence.”

The studio tracks are complemented by unreleased recordings of the band performing live on September 22, 1989 at the Zeppelinhalle, West Germany. The concert features songs from Beneath the Remains (“Primitive Future” and “Inner Self”) and the band’s previous albums (“Troops Of Doom” and “Escape To The Void”), along with covers of Black Sabbath’s “Symptom Of the Universe” and the Dead Kennedys “Holiday In Cambodia.”

Founded by the Cavalera brothers in 1984, the group recorded two full-length albums – Morbid Visions (1986) and Schizophrenia (1987) – before signing with Roadrunner Records in 1988. Since then, Sepultura’s dynamic studio recordings and intense live performances have earned it fans everywhere.

The current version of Sepultura (Derrick Green, Paulo Jr., Andreas Kisser, Eloy Casagrande) released a new album, Quadra, on February 7 and will tour the U.S. this spring. Former members Max and Igor Cavalera – who perform together in the band Cavalera Conspiracy recently completed a sold-out European tour in December 2019.












k 2) Inner Self (Mixdown) Instrumental
[l] 3) Stronger Than Hate (Mixdown) [Instrumental]


[o] 1) Sarcastic Existence (Mixdown) [Instrumental]
[p] 2) Slaves Of Pain (Mixdown) [Instrumental]

[r] 4) Hungry (Mixdown) [Instrumental]

Leagues Beneath is the first release immediately following Sleep’s long-prophesied, critically-acclaimed opus The Sciences. Recorded as a part of a series of songs for Adult Swim, this 12” single is a testament to what has made The Sciences such a success: bottomless tone, spacetime-melting riffs and a unparalleled aural experience from start to finish. Leagues Beneath is a full 17 minute plunge, now available to experience on black vinyl.

Duh-duh-duh-duh-duuuh-duuuh-duuuh-duuuuuh...two new productions from Beneath for A14, Blackest Ever Black's occasional series of hardboiled club weapons.

Edition of 300.

New project by Kai Alcé and Stefan Ringer New York, Detroit, Atlanta...

All that changed when Morrison received an email from Spacetalk Records two years ago, asking about the possibility of reissuing 'To See One Eagle Fly', the B-side to one of their 7' singles that has long been a favourite of label co-founder Danny McLewin. Once a deal had been done, Morrison mentioned that he had hours of unissued recordings in his loft; a treasure trove of ultra-rare multi-track master tapes that could be freshly mixed and mastered for release. When the Spacetalk Records' team finally got a chance to listen, they were astonished by the timeless quality of the songs. Put simply, they just had to be released.

The resultant album is a stunning set: an intoxicating glimpse into the world of two previously unheralded master songwriters whose musical vision encapsulates all that was good about Californian music during the late '60s and early '70s. Rooted in the American folk revival and folk-rock movement of the late '60s, the album's 15 thoughtful, heartfelt songs are laden with sly nods to the likes of Crosby, Stills, Nash & Young, Ned Doheny, Michael Deacon, Cy Timmons, Gene Clark and Buffalo Springfield. The tracks were recorded at various times between 1970 and '82 and gives a small glimpse of the duo's total body of unissued work. The release comes with extensive liner notes telling the remarkable story of two lifelong friends and musical collaborators who thought their moment had passed.

Vinyl Only! The New Exploration contains 4 Jacking Stompers! Deep Under the Ice we explore sparkling piano riffs, adventurous synth sculptures and tons of rimshots, toms and bleeps! Get ready, it's getting cold!

New 4-track Ep From Austin, Texas Analogue Hardware Enthusiast Bill Converse. Immersed In The Early Days Of The 90s Midwest Rave Scene, Bill Began Djing At A Young Age In Lansing, Michigan. Luminaries Such As Claude Young, Traxx, And Derrick May Were Key Early Influences. Techno, Noise, Ambient And Tape Processing Are All Part Of His Uncanny Sound Palette. His Debut Album 'meditations/industry' Was Released On Cassette In 2013 And Edited For A Vinyl Release On Dark Entries In 2016 Followed By Two 12' Singles 'warehouse Invocation' And '7 Of 9' The Same Year. In 2017 Converse Released His Second Album 'the Shape Of Things To Come' Followed By The Double Ep 'salt Of Mars'.

'hulled' Is A 25 Minute Journey Spread Across 4 Tracks Of Glacial Abandon. All Tracks Were Recorded Directly To Tape With No Overdubs, Made At Converse's Home Studio. Bill Says These Tracks Represent 'ocean Waves In Stormy Conditions, Dark Grey Blue Water, Or More Generally Speaking Something Ominous And Beautiful.' The Songs On This Album Reveal A Sublime Influence From Detroit Techno, Idm, And Acid. Built Around Vintage Synthesizer Lines And Gritty Drum Machine Percussion, The Tracks Ebb And Flow Like The Effect Of Sun Shimmering On Water, Woozy, Gauzy And Ephemeral. All Songs Were Mastered For Vinyl By George Horn At Fantasy Studios In Berkeley.

Each Ep Is Housed In A Die-cute Jacket Designed By Eloise Leigh With Peachy Pink Patterns Landing On An Alien Water Planet And Seeing Mysterious Playing Forms Under The Turquoise Water. Each Copy Includes A Postcard Featuring Photo Of Bill With Notes.

Cat.no.: De 222
Format: Ep

Tracklisting

2026 Repress

For the better part of two decades, the acclaimed band Calexico has crossed musical barriers, embracing a multitude of styles, variety in instrumentation, and well-cultivated signature sounds. With their forthcoming record Edge of the Sun, out April 13th via City Slang, they take inspiration from a trip to a place surprisingly unexplored by the band before in Mexico City, and with the benefit of many friends and comrades to help guide the way.

Encouraged by the experience, the guest list grew to include Ben Bridwell (Band of Horses), Nick Urata (Devotchka), Carla Morrison, Gaby Moreno, Amparo Sanchez, multi-instrumentalists from the Greek band Takim, and Neko Case. Burns' brother John Burns lent a hand to some lyrics and songwriting, and the band's keyboardist, Sergio Mendoza, stepped up to co-write and arrange certain songs, ultimately co-producing the album along with Burns, John Convertino, and longtime associate Craig Schumacher.

In summer of 2015 Seattle's doom fixtures Bell Witch released Four Phantoms' on Profound Lore Records, the highly anticipated doomed follow up to the band's now classic debut full-length Longing' (2012). But Longing' was not the band's first effort. Bell Witch first appeared in 2011 with a well-received demo that was simply titled Demo 2011.' At 37 minutes this recording was a massive statement of purpose which far-eclipsed the "demo" status implied by the name. It was recorded by Brandon Fitzsimons (Wormwood), the same engineer that worked on the band's debut Longing.' Demo 2011 showcased Bell Witch's minimalist depressing sound that has proven to be timeless, relevant, and undeniably sad. The band is heavy. The Flenser is proud to unleash this new pressing of a classic moment in contemporary US doom history. Artwork by the band's own Adrian Guerra (RIP) presented with an updated layout and in a more sustainable package than the initial pressing.

Upon its release in 2017, Bell Witch's Mirror Reaper cemented the Seattle duo's status as one of doom metal's most formidable acts. Its single, monolithic track also served as a tribute to the band's former drummer Adrian Guerra, who tragically passed away the year before.

Five years earlier, on the back of a highly praised demo, the band released their debut album, Longing. Featuring the original line-up of Dylan Desmond and Adrian Guerra (RIP), the album was recorded by Brandon Fitzsimons (Wormwood, Samothrace). It is a time-stretching journey through darkness, pain, and suffering, and doomed minimalism that is now considered a classic of the genre.

Originally released on CD by Profound Lore in 2012 and on vinyl by The Flenser, the vinyl edition has been out of print for several years until now. The Flenser offers a new pressing of this timeless masterpiece. Longing is packaged in a thick, old-style case-wrapped gatefold jacket with printed inner sleeves.

2023 Repress Blue Vinyl

- Eagerly anticipated follow up to 2014 debut - number 7 in Mojo's best albums of the year.
- LP jacket is gloss laminate with front & back folds on the outside.The back panel is uncoated/matt varnish - 300 gsm card and 180g vinyl. Digital Download included.
- EU tour coming in April with Summer festivals later in 2017.

Sometimes it can take years to find your calling. Not so, for wanderer Julie Byrne, whose power of lyrical expression and melodic nous seems inborn. But often, what comes naturally demonstrates against speed. Julie's second album Not Even Happiness has taken time to evolve, but as it spans recollections of bustling roadside diners, the stars over the high desert, the aching weariness of change, the wildflowers on the coast of California and the irresolvable mysteries of love. Her new album archives a vivid world that would've otherwise been lost to the road and in doing so, Byrne exhibits her extraordinarily innate musicality.

In fact, some of the album's songs took two years of fine tuning to get where they needed to be. And if you were to ask her why the follow up to 2014's Rooms With Walls And Windows has taken so long, you'd only be greeted with a bemused smile as though it's the strangest question she's ever been asked, Writing comes from a natural process of change and growth. It took me up to this point to have the capacity to express my experience of the time in my life that these songs came from.'

Having counted Buffalo, Pittsburgh, Pennsylvania, Northampton, Massachusetts, Chicago, Illinois, Seattle, New Orleans as her home in recent years. For now, Julie has settled in New York City where she moonlights as a seasonal urban park ranger in Manhattan. Whether witnessing the Pacific Northwest for the first time ('Melting Grid'), the morning sky in Colorado after staying up through the night at a house party in the mountains of Boulder ('Natural Blue'), recording the passage of freight trains on the outskirts of Buffalo, New York ('Interlude'), or a journey fragrant with rose water, reading Frank O'Hara aloud from the passengers seat during a drive through the desert of Utah into the rainforest of Washington State ('All The Land Glimmered Beneath'), Not Even Happiness is Julie's beguilingly ode to the fringes of life.

Self-taught on the guitar after picking it up when her father became ill and could no longer play the instrument himself, Julie readily admits she can't read music and doesn't even listen to it all that much - the first vinyl she owned was indeed, her own. Recorded with producer Eric Littmann (Phantom Posse), Julie laid down the new album in her childhood home in western New York state and offers an altogether bigger picture to its predecessor through a wider, yet subtle, exploration of instruments and atmospherics, Not Even Happiness reveals an artist who has grown in confidence over time.

Byrne's debut album was released back in January 2014 on Chicago based DIY label Orindal after initially being as two separate cassettes releases. Rooms With Walls and Windows went onto become a true modern-day word of mouth success story (it would have to be for an artist who shuns all forms of social media) and ended the year being voted number 7 in Mojo magazine's best albums of the year, with the Huffington Post calling it "2014's Great American Album". A collection of hushed intimate front porch psych-folk songs, that unknowingly recalled the greats, but felt very much for our time. It saw her travel to Europe over two summers playing the Green Man festival and End Of The Road, as well as lesser trodden tour paths around Europe.

Julie Byrne will take the songs from Not Even Happiness (the first release on a new record label Basin Rock, based in the Lancashire / Yorkshire border town of Todmorden) on the road throughout 2017.

A girl stands at an arcade machine, her eyes fixed on the glowing screen with her back turned on the world. She seems to be alone, somehow lost and yet at one with herself. The cover art (by Carmen Alt-Chaplin) for Peter Zirbs' debut album as a solo artist conveys escapism - being totally immersed in another reality, in the virtual world. His equally futuristic and retro-futuristic aesthetic is permeated with melancholy. What if we really don't exist

Peter Zirbs himself also knows how to escape: how to hunker down in the studio, hide from the outside and lose himself in the music. He emphasizes that such an escape is healing, leading to the world of the romantic. The Viennese musician and producer has always felt most comfortable straddling genres, whether techno and rock in previous band projects, or now as a solo artist combining post-minimalist dramatic synth/piano ("Firmament") with modern wave pop ("Are You Reality") and poignant ballad-kitsch ("Dreamescape"). Here there are subtle changes in emphasis gracing otherwise repetitive harmonies; there a true appreciation of pop. Ten songs - five with lyrics, five without - some threatening, some heartbreaking, all stirring. They project a world - sometimes concrete, sometimes abstract - in which can be found beauty and disquiet, love and fear, failure and perseverance. A world one is happy to get lost in while the cinema in one's head tells its own stories. (by Manuel Fronhofer)

As part of the Viennese rave and techno scene of the 1990s, multi-instrumentalist and electronic producer Peter Zirbs has released music under several pseudonyms, produced and remixed various artists, and scored a range of experimental films. He has broken down genre boundaries over the years with the variety of his output. The circle closes now. In 2018 Peter Zirbs finally steps into the spotlight as a solo artist.

"What If We Do not Exist" by Peter Zirbs is released on 19th October 2018 by Fabrique Records. Guest vocalists include Monika Heidemann (Heidemann, The Phenomenal Handclap Band, The Juan MacLean / DFA Records), Tom Walkden (Wolventrix) and Gerard McNeice.

When it comes to soulful house, Detroit native Alton Miller is about as ingrained as it gets. Peacefrog, Planet E, Moods & Grooves, Mahogani and Sound Signature have all endorsed his talents and with an album looming later in the year, Waella's Choice sow the seeds with 'All Things Good'. Club music for the sensitive souls, with some arresting spoken word poetry and even a broken beat deviation.'All Things Good' is the fourth release from London label Waella's Choice, following Hanna, RANGEr and the London on Key compilation.

Lullabies For Insomniacs presents 'For Leena', a collection of unreleased pieces composed between 1991 & 1998 by Dino J.A. Deane for the choreography of Colleen Mulvihill. Gatefold Sleeve
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Dino J. A. Deane began his professional career, at the age of nineteen, as a musical arranger and multi-instrumentalist (trombone, flutes, keyboards, percussion). He worked in funk bands around Los Angeles before moving to San Francisco in the mid 1970's, where as an improvising artist he became involved in the diverse communities of dramatic theatre, modern dance, free jazz and punk rock.

In the early 1980's Mr. Deane pioneered the use of live-electronics, live-looping and live-sampling in three distinct genres that heavily informed his later compositions: As a member of art-punk band 'Indoor Life', touring and recording with fourth world pioneer Jon Hassell and as an electro-acoustic percussionist in the Conduction orchestras of Butch Morris.

During this period Mr. Deane also worked as a sound designer for the theatre, with directors Sam Shepard, Julie Hebert and Christoph Marthaler. He also maintained a presence in the world ofmodern dance, creating and performing compositions for former Olympic gymnast Colleen Mulvihill.

The couple met in San Francisco in 1979 through his good friend Bruce Ackley, whom was commissioned to compose a score for one of her solo pieces. Colleen, was than a member of the Margaret Jenkins Dance Company and was planning to move to New York City to set out on her own as a dancer and choreographer. Their paths crossed again in 1980 when Dino moved to NYC with Indoor Life, during this time they began a long term relationship both on and off the stage, which continues to this day.

Sonic Groove Records presents the advent of a new strain of contemporary techno for 2018 and advancing electronic music culture further into the future with this release. This is a document of the convergence and alliance of two distinct artistic visions, that of veteran and pioneer Thomas P Heckmann under his Drax moniker and current dedicated activist Blush Response. The results of this cutting edge collaboration are pure dance floor revelations of the infectious and mind expanding kind. Four cryptic transmissions initiating a sequence of combined sonic DNA output.

This is an interpretation of techno rooted in radical experimentation and upgraded to the next level with compelling innovation. Side A initiates the drama with mysterious analog machine signals of both purist and experimental dark techno that are composed of elements crafted at the molecular level. Side B continues with intensity delivering more of the combined audio expression of the artists. The intense coded communication weaves through in waves of perfectly balanced synthesis that is reinforced with heavy percussion and complex intertwined and engaging rhythms. A new key to other dimensions in sound. Essential

Mutant jungle forms, hazy glitch experiments and trance inducing downtempo collide with sharp percussion and dense low end on this latest Alter 12'. Helm's recent 'World In Action' EP for The Trilogy Tapes is reworked by a whole host of favourites including Laurel Halo and Parris who offer up two distinctly different takes on 'Blue Scene'. No Symbols boss Beneath turns his hand to title track 'World in Action' with that typically murky, deconstructed club aesthetic whilst Parisian mainstay Low Jack gets deep on the A2, his five and a half minute version of 'Candy' sounding like a cross between Nuno Canavarro and Whitehouse. Delivering what might well be the records most subdued moment, Brussels' Sky H1 slows 'After Dark' way way down with some barely there auto-tuned vocals helping to bring things into the fold.'

Mystical, bumping, percussive, melodious fantasies of UK garage as the musical emanations of a Marrakech souk.

Meet Thorsteinssøn. The Iceland-born-Denmark-bred Gunnar Thor Viggosson better known as one half of 76-79 with Tommy Vicari Jnr and bossman at Comfortable Records and Vanity. Right now, though, we're calling him the man behind the first Pets artist album this year... Deliciously cosmic and cheerily schizophrenic, 'Academy Of Heroes' is inspired by a brilliant creative project Thorsteinssøn practiced during his years living in Amsterdam: Solar Industry Radio. A project that would begin with a made up artist or band name in styles ranging from cosmic funk,scandinavien disco to noise collages of the galaxies. A joyously backwards project that inspired a rich rainbow of styles, the content was then represented 24/7 online, collaged with strange jingles and sifi snippets. Genius. Returning to those creations, Thorsteinssøn and Pets have weaved together a full album that cherry picks from his thunderous proliferation: from the strutting west coast deep house of '1976' to the introverted electro boogie of 'N M T F R' by way of the poignant chords of 'Untitled Disco Six', the wry acid wriggles of 'Channel DISQ' and the Trans Am twinkles of 'Beneath A Steel Sky', the 14 collection acts as an immersive, timeless collage. A smorgasbord of synthetic exploration, rich in sci-fi, space and robotic sympathy, pieced together with the same spirit of his cult radio transmissions, it works just as well on the cans as it does in the dance... And it's en route with an equally alluring package of remixes. An album, a radio show for freaks or simply a journey into Thorsteinssøns world.. Whatever... He really is a creative maverick. !

Application have selected some of their favourite artists o remix their album System Fork. Each artist selected heir favourite track and given the freedom to do what hey wanted with the track.

Genesa Records is proud to presend the debut solo EP of the Japanese techno wizard Ducerey Ada Nexino aka Yuji Kondo! Whether as Ducerey Ada Nexino, Yuji Kondo or in the collab-duo Steven Porter (with Katsunori Sawa), this producer and co-founder of the notorious 10 Label imprint, has been making floor shaking tunes for a while now and gaining a lots of attention, proven by appearances on labels like Semantica or Perc Trax. 'Cycles, Children & Islands EP' represents the culmination of his work under the 'Ducerey Ada Nexino' moniker. On board are 3 originals, a remix by the label-head Scalameriya and a digital, 'bonus' ambient / noise track. All of that, beautifully packed on a grey/black marbled vinyl.

maya ongaku has always been searching for what exists just beyond the edge of perception. Since forming in the seaside towns surrounding Enoshima, the trio has followed a path guided less by intention than intuition, allowing songs, ideas, and experiences to emerge through a process they describe as 自然発生 (shizen hassei), spontaneous occurrence. Nothing Space Music is the deepest expression of that philosophy to date.

Written in the aftermath of several years of international touring, the album emerged from a growing desire to reconnect with silence. As stages became larger and the world around them moved faster, the band found themselves drawn toward the quieter spaces beneath it all. What began as a reflection on stillness & silence eventually expanded into the idea of "Nothing Space". To realise the album, maya ongaku created an entirely new environment for themselves. Near a seaside shrine in their hometown, the trio transformed a large soundproof building into Nothing Space Studio, a space built specifically around the needs of this record.

Nothing Space Music: a meditation on presence, perception, and the possibility of rediscovering the world through attentive listening.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

The Rurals first love is DEEP HOUSE!

Deepest Rurals E.P dives beneath the surface to explore the essence of The Rurals' unmistakable sound. Rich in soul, jazz-infused textures, and deep house sensibilities, this release delivers a collection of warm, organic grooves crafted with depth, elegance, and musical integrity.

Flowing effortlessly between atmospheric keys, fluid basslines, live instrumentation, and intricate rhythms, each track captures the timeless spirit of underground house music. The Rurals blend soulful expression with dancefloor functionality, creating moments that are equally suited to intimate listening sessions and late-night club journeys.

Here’s the first instalment of some fine examples, previously only available digitally!

Emerging in 2023, Die Anstalt are a Berlin-based post-punk and minimal synth trio who quickly established themselves with a blistering fusion of early EBM, synth-punk, and classic post-punk. Their sound channels the grit and tension of 1980s industrial sub cultures while feeling unmistakably contemporary. Recently signed to City Slang worldwide, the band are reissuing their independently released debut album through the label. They have also announced a UK and Ireland tour supporting A Place to Bury Strangers, alongside a hometown headline show at Berlin's legendary SO36 in November 2026.

Die Anstalt sound like no one else, even if everyone hears something different. Depending on who you ask, you'll catch traces of Malaria!, Boy Harsher, DAF, early EBM, synth-punk, or X-Mal Deutschland. Then there's the surf guitar, a detail that shouldn't work but somehow holds the whole thing together. The result is theatrical, confrontational, hypnotic, and relentlessly physical. They write slogans that stick. They're appropriately furious. Live, they're less a concert than a controlled explosion.

Their songs give voice to generational exhaustion, the dystopian absurdities of the present, warmongers, the manosphere, and the constant sense that the world is coming apart at the seams. Somehow, they also sound unmistakably like Berlin. That doesn't happen often, maybe once a decade, if we're lucky.

Most of all, Die Anstalt are proof that beneath the noise, the algorithms, and the endless churn of industry discourse, something vital still burns: rage, conviction, and hope in equal measure. At their core, they are a punk band. No posturing. No compromise. No messing around. They don't ask for permission. They burn it all down.

Die Anstalt, 2023 in Berlin gegründet, bewegen sich zwischen Post-Punk, Minimal Synth und frühem EBM. Innerhalb kürzester Zeit hat sich das Trio mit einer kompromisslosen Mischung aus Synth-Punk, klassischem Post-Punk und der rauen Energie der industriellen Subkulturen der Achtziger einen Namen gemacht – und klingt dabei nie nostalgisch, sondern entschieden gegenwärtig. Kürzlich unterschrieb die Band weltweit bei City Slang, wo nun auch ihr zunächst in Eigenregie veröffentlichtes Debütalbum neu erscheint. Im Herbst 2026 begleiten sie A Place to Bury Strangers auf deren UK- und Irland-Tour, bevor sie im November mit einer Headline-Show im legendären SO36 nach Berlin zurückkehren.Die Anstalt klingen vor allem nach sich selbst – auch wenn jede*r etwas anderes hört. Die einen denken an Malaria!, andere an Boy Harsher, DAF, frühen EBM, Synth-Punk oder X-Mal Deutschland. Und dann ist da diese Surf-Gitarre, die eigentlich nicht funktionieren dürfte und doch alles zusammenhält. Die Anstalt sind theatralisch, konfrontativ und hypnotisch. Sie schreiben Parolen, die hängen bleiben. Ihre Wut ist berechtigt. Live gleichen sie einem kontrollierten Ausbruch.Ihre Songs finden Worte für die Erschöpfung einer Generation, für die dystopischen Exzesse der Gegenwart, für Kriegstreiber, die Manosphere und die Absurditäten unserer Zeit. Irgendwie klingen sie dabei unverkennbar nach Berlin. Das passiert nicht oft – vielleicht einmal pro Jahrzehnt, wenn wir Glück haben.Vor allem aber beweisen Die Anstalt, dass unter dem Lärm, jenseits von Algorithmen, Trends und dem endlosen Gerede der Musikindustrie noch immer etwas brennt: Wut, Haltung und Hoffnung zugleich. Im Kern sind Die Anstalt eine Punkband. Kein Posieren. Keine Kompromisse. Kein Bullshit. Sie bitten nicht um Erlaubnis. Sie reißen alles nieder.

American DJ, producer, and Ovum label boss Josh Wink remixes Chris Liebing's 'Eye C' via CLR on 25th September 2026, one of the standout tracks from Liebing's first fully solo-produced LP, 'Evolver', which landed in March. The album featured collaborations with the likes of Luke Slater, Charlotte de Witte, and Daniel Miller, with Josh Wink the latest to rework material from the project. The Philadelphian is an electronic music veteran who has shaped countless releases on his own Ovum, while also remixing the likes of Depeche Mode, Moby, and Radiohead.

Josh Wink showcases his production skills once again with a blistering take on Chris Liebing's 'Eye C', rewriting it with fizzing synth modulations and prickly acid lines. The track grows in intensity as rumbling drums march on, and the synths become ever wilder before pulling back into a deep, atmospheric groove, rebuilding beneath the menacing vocals and icy, incendiary hi-hats.

The original version of Chris Liebing's 'Eye C' is a deep, rolling techno masterclass with pulsing synths and deft percussion peeling away from the groove. It's linear and heady, perfect for the small hours, with unsettling vocal fragments refracted around the mix and subtle hypnotism floating overhead as the drums grow ever harder.

2026 Repress

Prologue: Wearied by our endless travelling under a burning sun, we stopped by the margins of a tiny stream, embraced by a timid vegetation. The scorching heat made our throat parched and weak: yearning to quench our thirst, we immersed ourselves into the waters without any hesitation, drowning our dryness and our exhausted limbs. I pointed my face, revived by water, towards the sky and I lingered on, admiring it: a flock of birds gently floated, drawing in the sky some abstract shapes. I sat beneath a palm tree, motionlessly admiring the show, the shades of the night approaching. 'The true joy of a moonlit night is something we no longer understand. Only the men of old, when there were no lights, could understand the true joy of a moonlit night.' --

Nonclassical are proud to release Nneka Cummins’ Ivor Classical Award-winning finding gills (when they try to drown you), pairing the original orchestral work with its remix, finding gills realms and possibilities.

Originally commissioned and composed during Nneka’s time on nonclassical’s Artist in Residence programme and premiered by Sinfonia Smith Square in 2025, the work marks their first large-scale exploration of fixed electronics alongside chamber orchestra. Built entirely from its source material, the remix dissolves the perceived sacredness and permanence of orchestral music, stretching, warping and reassembling its fragments into a fluid electronic form.

Drawing on fragments of earlier compositions, Finding Gills embodies both destruction and creation, embracing the spirit of metamorphosis. Inviting the listener to sit in moments of dissonant discomfort and distress, an emerging sense of hope gradually reveals itself through radiant strings and spiralling melodies. Hinting at a sense of tiredness that is continually renewed, sparks of new life blossom within a shifting orchestral landscape where memory, experimentation and survival coexist.

The title alludes to the Afrofuturist mythology of Drexciya, imagined by Detroit duo James Stinson and Gerald Donald, in which the descendants of pregnant African women who were thrown overboard during the transatlantic slave trade adapted to breathe underwater, creating a new civilisation beneath the sea. Nneka draws on this subtle reference as they are inspired by the deep creative alchemy of transforming horror into vibrant and powerful myth.

'Between Two Worlds' is the latest statement into Oscar Mulero prolific discography. This brand new LP expands the techno standards defined by the Spanish artist himself.

For those with an ear to the Afro-Latin scene in New York City, Doug Gomez is one of the main men. His infusion of those sounds into a deep house framework is sublime, always, and not least on this fourth instalment in his series for his Merecumbe Recordings label. 'Dis a Way of Life' is a collab with fellow heady house hero Trinidadian Deep, and is a spine-tingling affair with spiritual pads that stir your soul as rasta vocals add to the dubbed-out feels. 'Dance Activator' is more about movement, with supple drums swaying beneath jazzy synth expressions that ring out into an infinite sky. On the flip is the warm deep house bubbler 'Sonic Uprising' and a remix by Trinidadian Deep that turns up the colour and soul. Pure class.

Some records are about rhythm. Others are about atmosphere. Hidden Soul EP exists somewhere in between -- a collection of electronic transmissions where intricate programming, analogue textures, melody, breaks and acid come together in a constantly shifting landscape. For their debut on Analogical Force, The 89th Passenger delivers five tracks that move between detailed electronic structures, hypnotic rhythms and deeply atmospheric passages. Beneath the machines and intricate programming, there is an unmistakable sense of melancholy, giving the record a depth that goes beyond its electronic foundations. Hidden Soul EP moves between intricate electronics and abstraction, reaching unexpected emotional heights while maintaining a strong sense of sonic depth and physicality. A record for close listening, late-night journeys and those moments when machines become something more than machines.