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Landing on Alchemy Dubs is our sixth release on 7" format, a collaboration between
Ojah and Rider Shafique.

The A side contains the track "Dreams", a mid tempo riddim that goes into the realms of
dub poetry. Lyricist and MC Rider Shafique provides the powerful lyrics and a unique
vocal delivery that combines spoken word with dreamy melodies, while Ojah's music and
production duties complete the landscape.

On the B side we find a dub version as usual, "Dreams Dub". The mix is true to it's name
resulting in a deep meditational dub that will take the listener into the land of dreams.

Limited edition of 500 copies, hand-stamped and hand-numbered, served in a thick custom
reversed kraftliner sleeve with inner black disco sleeves.

»sichten« refers both to »opinions« as well as the »examination of material«. in lose sequence, we will invite friends and colleagues, but especially music lovers to share their opinions on music with us or to look through their collected materials in order to present music that tends to be out of the focus of current media channels. as a label for electronic music our focus is on examining exactly this genre. but in the context of the series, we are rather looking for more hidden, unknown, perhaps forgotten music. we want to present the yet undiscovered, and also offer a platform for other cultural environments with different musical approaches. each issue will be supervised and compiled by a curator. an introductory text shall explain the ar- tistic approach of the respective curator. in this sense, the format of a double lp can only provide a first insight and wants to invite to a more in-depth research. for the first issue of the series, »sichten 1«, we asked frank bretschneider to compile his own, very personal selection of current electronic music. his choice fell on six artists, whose different styles me- ander between accessible music on the one hand and very abstract compositions on the other hand.

"sichten" bezieht sich sowohl auf "Meinungen" als auch auf die "Auseinandersetzung mit dem Material". In loser Folge laden wir Freunde und Kollegen, vor allem aber Musikliebhaber ein, ihre Meinung zur Musik mit uns zu teilen oder ihre gesammelten Materialien durchzusehen, um Musik zu präsentieren, die nicht im Fokus der aktuellen Medienkanäle steht. als label für elektronische musik liegt unser schwerpunkt auf der untersuchung genau dieses genres. im rahmen der serie suchen wir aber eher nach verborgener, unbekannter, vielleicht vergessener musik. wir wollen das noch unentdeckte präsentieren und auch eine plattform für andere kulturelle umgebungen mit unterschiedlichen musikalischen ansätzen bieten. Jede Ausgabe wird von einem Kurator betreut und zusammengestellt. Ein einleitender Text soll den künstlerischen Ansatz des jeweiligen Kurators erläutern. In diesem Sinne kann das Format einer Doppel-LP nur einen ersten Einblick geben und will zu einer vertieften Recherche einladen. für die erste ausgabe der serie "sichten 1" haben wir frank bretschneider gebeten, seine eigene, sehr persönliche auswahl aktueller elektronischer musik zusammenzustellen. seine auswahl fiel auf sechs künstler, deren unterschiedliche stilrichtungen ich zwischen zugänglicher musik einerseits und sehr abstrakten kompositionen andererseits unterscheiden.

Dutch-Italian composer, musician and producer Aimee Portioli alias Grand River is back on Spazio Disponibile. After a debut record on the label in 2017, she now serves up her first ever physical long player, Pineapple. The record draws on Portioli's love of electronic music and sound design, as well as her background in traditional composition and formal training on a range of musical instruments.

An experienced sound engineer and composer for national radio, she crafts absorbing film scores, experimental and ambient projects and takes in symphonic calculations that blur the lines between traditional composition and research-based modernism. All that is evident on Pineapple, which is named after the most peculiar of fruits and is just as peculiar, but ultimately satisfying, across ten remarkable yet rewarding tracks.

They are often long pieces which take in wallowing electronic landscapes, with real ambient beauty next to a subtle sense of narrative that is absorbing throughout. Unusual sound sources and a masterful sense of suspense characterize the album and make it as fascinating as it is enjoyable. (*Audio snippets will be released in September*)

A mechanism of auditory and cognitive silk.

Our second vinyl edition is a very special summer release,
As this series is firmly installed in a crossroads of sounds, showcasing original material by Monopolar and Signal Deluxe, that is taken way up high in the sky with a couple of stellar remixes from 2 of our favorite artists in the world: Jay tripwire and Jacek Sienkiewicz.

Often inspired by the cosmology, sonology, and culture of indigenous people from Borneo, Nursalim Yadi Anugerah is a Pontianak based composer well-known for his peculiar approach on instrumentation and composition. Adapted from Kayaan people oral literature Takna' Lawe', HNNUNG is a chamber opera that amplifies the cosmic dramaturgy of Kayaan culture—in which the narrative of matriarchy is essential. HNNUNG the opera was performed by Balaan Tumaan Ensemble and Kerubim Choir using various instruments ranging from kaldii' and sape' to tenor saxophone and contrabass. For this edition, he selects nine recording pieces from his opera HNNUNG in the form of sonic-fiction—he lets his composition works as a narrator.

Cat.no.: XVIII-IV
Format: MC

Les Disques du Crepuscule presents The Wood, a brand new studio album by Scottish singer and songwriter Paul Haig, previously frontman with cult Postcard post punk legends Josef K.

Paul's fourth solo album for Crepuscule since 1983 was written and recorded over a three year period between 2015 and 2018, and explores glitchy, twisty sonic territories in the vein of Four Tet, Floating Points and Love Over Entropy.

'We can think of the wood or forest as a metaphor for the mystery of the human psyche,' says Paul. 'Like the human soul, it can be a place of hidden meanings and unrevealed secrets. I wanted to try and evoke this through the music and worked hard on finding the right balance of electronic and organic sound samples across a broad range of musical genres.'

Cover art by Kendris MacLeod. Design by Emma Quinn Design. Available on CD and vinyl LP (vinyl format includes a free digital copy on MP3).

Tompkins Square present the debut full-length by Welsh multi-instrumentalist, Gwenifer Raymond. Hailing from Cardiff and now residing in Brighton in the South of England, Raymond began playing guitar at the age of eight. Tompkins Square released her debut 7" on Record Store Day.

In Gwenifer's own words :

When I was about eight years old a pretty formative thing happened to me ... my mum bought me a cassette tape of Nirvana's Nevermind. Being so young I'd had no real interest in music prior to that, but I did have a 'My First Sony' cassette player that I used to listen to audiobooks. Anyway, I put the tape in, pressed play, and what I heard blew my little 8 year old mind. I don't know what it was about that wall of sound that so captured me, but I spent many hours hyperactively running around the house with headphones on, volume at full blast, and Nevermind on repeat. It was either for Christmas or my birthday that year, that I asked for a guitar.

I spent all my teenage years playing either guitar or drums in various punk and rock outfits around the Welsh valleys, but around that time I was also getting seriously into older stuff, Dylan, The Velvet Underground and the like. Through those cheap compilation CDs you could get then, I found that a common influence amongst these guys was pre-war delta and country blues, as well as Appalachian music. Eventually I stumbled upon Mississippi John Hurt, Skip James and Roscoe Holcomb, and they became the holy trinity of musicians I so wanted to able to play like. Eventually, I tracked down a blues man in Cardiff who could teach me and it was in studying these guys that I was introduced to John Fahey and the whole American Primitive thing.

I've always loved being in bands and the sonic chemistry it produces, but at the same time it's always a bit of a compromise that those sounds in my head have to pass through and be translated by someone else's. Sometimes it can be for the better, but sometimes not so much. American Primitive was the first time it had occurred to me that you didn't really need anything more than one solo instrument to fully express yourself, especially when those feelings and moods refuse to be articulated in words, sometimes it's a mystery to yourself what it is you're expressing. I still play in hard rock and punk bands and love to wail and hit my guitar with a complete lack of any subtlety or nuance, but in the end I think that all these things are really part of a circle, feeding back into itself. It's all just a lineup of strange mutations.

The 8 track album features new collaborations with DJ Phil, Gantman, DJ Paypal, and Sirr Tmo, and a previously unreleased classic from 2013, co-written with DJ Rashad. WFM will be available in Vinyl and digital formats on September 7th 2018. Listening to WFM, the first thing that jumps out at you is Heavee's masterful use of synthesizers and sound design. You get the sense that these elements have been lovingly crafted during countless hours of sonic experimentation and invention in the studio. As Heavee explains, the primary focus on synths represents a departure from his usual creative process: 'Usually in my method of production, synths or sounds come somewhat close to last, likely after I find structure or rhythm. Basically, it's not something I particularly go for first, but this time around they became the building blocks'. Heavee has made a conscious decision to challenge himself, adopting a different approach to his past productions. In doing so, he moves away from the familiar sampling techniques which characterised his earlier work: 'I am a child of the last days of ghetto house culture as it shifted into juke/footwork. My parents, aunties, and uncles played house and ghetto house music at family functions, BBQs and house parties. That's my roots and where I came from. However, on this record, I chose to stray away from vocal samples, to give myself room to grow in different areas.' Heavee finds his voice in emphatic fashion on Cloud Ride feat. DJ Phil. His lyrical content and flow are on point as the track flips seamlessly from hip hop to footwork and back again. DJ Phil features on 3 tracks in total, a reflection of Heavee and Phil's close friendship and musical connection. As Heavee explains: 'Phil's studio is a safe space for me. Whether he is in the room or not, I don't feel weird about trying something that might be silly, taking it to the next level, or coming from a place of pure inspiration. Phil has historical, musical and cultural knowledge relevant to Chicago. He shares a lot of invaluable knowledge with me' WFM features It's Wack a classic collaboration with DJ Rashad that still sounds fresh today. Heavee remembers how Rashad would always stay connected, even during his relentless touring schedule: 'We'd get calls no matter where he was. We would talk about everything! He ALWAYS had new info; what new music was popping, scenes that were really accepting or supportive of what we were doing, blends that made the party go off, sites, adventures and just fuel us with support from him and give us living proof of the global support that was to come and the journey that was ahead of us.' Although Heavee makes music with the dancefloor firmly in mind, the sheer quality of his music transcends that space. So sit back and enjoy the next chapter in the Teklife story. All that remains is for Heavee to sign out with a message for the worldwide Teklife family: 'First, Thank you to everyone who supports what I do as an Individual, and Teklife Music as an entirety. You don't understand how much your support means to us, it literally keeps us moving. The takeover is far from over! Second, thank you to everyone involved in this project, I couldn't have made it without you. This process taught me so much about what it takes to become the person you want to be. It starts inside of you, and you have to really work for it, you can't wait and wonder. I feel beyond blessed to present this gift to the world, walking this journey of self -discovery through music with you!!!

Second Vinyl Release Of Swing Format Records. Managed By Colombian Dj/producer Hidro Based In Barcelona. P&d: Melting Pot Records

Check It Out!

Repress

SNTS is an underground techno label, commitment to the vinyl format as the main pillar and overall bring the electronic in the anonymity.

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

Dark Entries present the first ever vinyl issue of Jon Krocker's debut album 'Monolog' originally released on cassette in 1983. Jon is from Winnipeg, Canada and got his start as half of the synth noise duo Dialog. In 1981-82, while studying for a BA in Film Studies, he would go to the studio and practice. No writing or patch memories, composing on the fly. His set up consisted of a Minimoog, Oberheim Two Voice, Roland RS-202, Roland Space Echo, EML 400, Roland DR 55, Roland System 100 mixer. After playing some of the songs to Impulse Records store owner Roman Panchyshsyn, he agreed release the album on cassette on Contagious Records. Primarily influenced by the German school typified by artists such as Conrad Schnitzler and Kraftwerk, Jon's music exhibits the cold machine ethic of the neumusik. The 12 instrumental tracks are stark and minimal, at times anxious but overall space orientated and flexible.

All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each copy includes an 8-page newsprint zine featuring ephemera, press clippings, photos and liner notes by Jon.

Cat.no.: DE 228
Format: LP

Tracklisting

Depeche Mode - Speak & Spell 12" Single Box

Depeche Mode realized the format's potential and embraced the power of 12" vinyl and the avenues of innovation it opened up. The 12" single allowed the band to explore new sonic possibilities while the physical beauty of the packaging gave Depeche Mode room to develop a sophisticated and commanding visual aesthetic. Depeche Mode used their singles discography as a means of offering left field remixes and other delights for their fans.
Each box set in the series will contain the singles from each Depeche Mode album on audiophile-quality 12' vinyl, with audio remastered from the original tapes and cut at the legendary Abbey Road Studios. The artwork for the exterior of each of the new box sets draws on street art iconography inspired by the original releases, while the vinyl sleeves themselves feature the original vinyl single artwork.
Speak & Spell | The 12' Singles contains a facsimile reproduction of the rare Flexi Disc 'Sometimes I Wish I Was Dead' b/w 'King of the Flies' (the Fad Gadget track as on the original release); Dreaming Of Me 12': 'Dreaming of Me' b/w 'Ice Machine'; New Life 12': 'New Life (Remix)' b/w 'Shout! (Rio Mix)'; Just Can't Get Enough 12': 'Just Can't Get Enough (Schizo Mix)' b/w 'Any Second Now (Altered)'; original single poster reproduction; download card.











The tune 'Strength' was written for my partner Bozanne Evans. This EP is dedicated to her.

Side note: The tracks 'I' and 'Strength' were originally going to be released as UNITY006 on the label 'Unity Through Sound' before they folded after their fifth release.

I didn't want the release to go to waste so decided to put them out on my label taking advantage of the 12' format by including a personal favorite of mine 'Life' and Ill_Ks monstrous remix of 'I'.

This is my most personal release to date and I hope you enjoy it.

Chad Dubz

Damian Lazarus & The Ancient Moons have released their new track 'Feedback Loop'. This is the latest single to be taken from their forthcoming new album Heart of Sky, out on July 20th through Crosstown Rebels/BMG. Showcasing the warm textures of Jesse Appiah's soulful vocals and the Ancient Moons' top notch production, 'Feedback Loop' already sounds like a classic and is undoubtably one of the album's key moments. The song is about A.I., a conversation between man and machine, and rolls out of the speakers like a 21st Century update of Bristol's Wild Bunch sound system. Remixes for the dancefloor from Bedouin and Serge Devant, plus dubs from the legendary Mad Professor, follow on all formats next month.

Park Jiha first gained attention as the leader and producer of the neotraditional Korean duo (su:m). Her music combines the formalism of classical minimalism, the rootedness of Korean folk motifs and the dynamics of post-rock and contemporary jazz. A calm from within the storm.

Lucrecia Dalt's Anticlines is a volume of bodily and geological substrates within poetic theory and sound. It is a place where skins and minerals dissolve and commingle, where gaseous subterranean leaks inflate lungs, where brain cavities echo interplanetary waves bent from passing through atmospheres.

A former geotechnical engineer from Colombia currently residing in Berlin, Dalt's concern with boundaries and edges shape the lyrics and music of Anticlines, her sixth album. Paying careful attention to pace, breath, and texture, Dalt microtonally shifts the distance between speech and song while using traditional South American rhythms to support her contemporary electronic composition.

Lucrecia arrived at the atmosphere of Anticlines after several months of studying and creating new patches for the Clavia Nord Modular, forming a rhythmic feedback flow with it, a Moogerfooger MuRF, and her voice. The overall effect of cavernous space backdroping Dalt's intimate vocal phrasing rewards contemplation, supported in the physical formats of Anticlines by a lyric booklet documenting Lucrecia's collaboration with Australian artist Henry Andersen.

The album opens with Edge,' bordering on a pathological circlusion of self upon other. The lyrics depart from the Colombian myth of El Boraro, an Amazonian monster who turns its victims insides to pulp before sucking them dry and inflating their bodies like balloons to lifelessly float away. Tar' ponders human dependence on earth at the boundary of the heliopause, where to inhale might be like breathing tar. Dalt's distant and obscured vocals end with, we touched only as atmospheres touch.'

The sonic rise and fall of Analogue Mountains' is inspired by martian traces found in Antarctica embedded by meteorite ALH84001, suggesting that we might well be living in mountains transferred from Mars.' The steadily winding music on Concentric Nothings' descends with the lyrical exercise of dissolution let my touch be indistinct and instinctive.'

Interspersed with the lyrical pieces of Anticlines are instrumental interstitials that demonstrate preceding concepts — as if to say, this is what antiforms sound like, and this is what the universe's indifference sounds like.' Dalt's ongoing experiments with visual artist Regina de Miguel support these ideas, their practice allowing the objects of their attention to slip in and out of being.

Mystic of matter, Lucrecia Dalt has previously performed and worked with Julia Holter and Gudrun Gut, her slippery spoken word and performative nature recalling the work of Laurie Anderson, Robert Ashley, Asmus Tietchens, or Lena Platonos. While touching stones, The Thing by Dylan Trigg, Cascade Experiment by Alice Fulton, and Wretched of the Screen by Hito Steyerl are but a few formative scripts that support Dalt's exploration of the betwixt and between.

In preparing a live set for Anticlines, Dalt plans to stage an uninterrupted configuration, like a kind of alienated lecture, aiming for gestures that create tensions with non-existent objects.' Dalt intends to provide meaning and a place for the listener to meditate or relate to the concerns and ideas' she presents.

- Lucrecia Dalt is a Colombian recording artist, songwriter, and producer.
- After studying civil engineering in Colombia, Dalt worked at a geo-technical company for two years and has since lived in Barcelona and Berlin, where she currently resides.
- She has released five solo albums and has collaborated with musicians Julia Holter, Laurel Halo and Rashad Becker, to name a few.
- Dalt has composed for sound design installations and performance pieces for institutions such as the Santa Monica Art Centre, Reina Sofia Museum and the Maisterravalbuena gallery of Madrid, in collaboration with visual artist Regina de Miguel.
- Anticlines is Dalt's sixth solo record, and her first on RVNG Intl., following the release of 2015's Ou.
- Anticlines explores the boundaries and limitations of human consciousness. The album's poetic lyrics were written collaboratively between Dalt and Henry Andersen during a weekend in Brussels, Belgium.

'Is That Enough' & 'Country Girl' were both originally recorded in the 1970s and had never been available in any format until Cordial Recordings struck a deal with Ruby to release them on vinyl for the first time. 'Is That Enough' is a glorious stepper that was originally recorded during the same sessions as 'Breezy,' which was Ruby & The Mudflaps only previous release in 1977. Whilst on the flip 'Country Girl' is a crossover gem that's filled dancefloors for selected DJs on promo.

If you want to know what Gabe Gurnsey's debut album
'Physical' sounds like, the first thing you should do is forget all
about Factory Floor, the group he co-founded 13 years ago.
Gone are the cold, lengthy, stripped back deconstructions of no
wave electronica and industrial techno, abandoned in favour of
something altogether warmer, torrid and succinct.
'It's a real departure from Factory Floor,' he explains. 'Yeah,
that was the intention. There's only one track over six minutes
long! There's only one crossover point on the song 'Night
Track', which is 6'33' - that's probably as close to Factory Floor
as it gets. What I wanted to get into with 'Physical' had more to
do with exploring songwriting and structure. The album is very
escapist in one sense even though I don't want to escape from
Factory Floor but what I do on my own has to be separate and
it has to explore new avenues.' Gurnsey started writing tracks in his downtime from the group early 2017 and by the start of that Summer he had 30 demos ready for work. He admits he worked very quickly initially but then gave the tracks 12 months to develop fully into a new sound.
And that new sound - a 21st Century take on muscular electro,
Balearic synth pop, EBM, proto-Hacienda militant funk, early
Chicago house and minimal, Neptunes-referencing beats - can
be experienced in full on 'Physical' the album released on Erol
Alkan's Phantasy label. The album features additional production from Erol Alkan, who also mixed the record.
Double LP format includes printed inner sleeves and digital
download code. Press - Reviews in Q, Loud & Quiet, The Quietus, Record Collector, Uncut.
Features in Loud & Quiet, Electronic Sound, Q, Clash, The Quietus, Gigwise, Silver Soundz.








[]I C2 | I Get
[]J C3 | Version

The long awaited answer from the notorious southern-hemispherian sound system, Subtle Sound System. This debut release from their record label aptly named Subtle Recordings is bringing some heavy weight straight out of Christchurch, New Zealand, first up with local legend Headland. Exquisitely imprinted 'no holds bar' by the masterful Optimal Media in a full art sleeve, this 180 gram, vinyl only, no-repress recording superbly ushers in a new beginning for the sound system and is another pillar of foundation to the future sound of bass music.

Headland, with his atmospheric soundscapes, sparatic drums, jarring percussion and punishing basslines, has been taking his unique sound to the world for the past few years and has sequentially been picked up by some of the most forward thinking labels in the bass music scene. From notoriety like Innamind Recordings and Zam Zam Sounds, Headland is one of the most noteworthy artists on the scene today and is a staple in sets from artists including, Samba, Mala, VIVEK, Commodo, Sleeper, just to name a few. Headland's infamy continues on Subtle Recordings debut release with the two outstanding tracks, Quiver and Deathbed.

From a spacious beginning, Quiver quickly builds pressure, manifesting into a track that by the end of, you'll have to regroup your crew as all would have been taken on their own solo journey. Navigate through high level percussion, sonic stabs, sub-temperate basslines and menacing vocals, all encompassed within a 130 bpm landscape where the richters leave you feeling vulnerable and insignificant. Quiver is a force of nature not to be taken lightly. After setting the stage, this behemoth pushes to another level, with erratic note changes and misplaced beats, before opening up to a plateau of relative safety within rolling basslines and familiar haunts. Recollecting yourself, you are once again thrust into unknown territory. A barrage of death blows commences until eventually you find yourself on the other side, disorientated, demoralised, but thankfully unharmed. With support from dons like Gantz, Boofy, J Kenzo, Mr K, Quiver has begun to leave its mark through the next frontier of bass music.

A usually silent, still and chilly affair, Deathbed is anything but, with its uplifting groove, conscious beat scape and warm bassline. But don't get too cosy, cause this assortment of frequencies is cold. Foreboding basslines. Wholesome mids. Trademark Headland accents. Deathbed builds in monumental 140 bpm splendure, in a simplistic formation, that will have you calling home to tell Mum of your triumphant return. Bask in all the glory as the track sheds back into its essential ingredients before collapsing into a well rewarded breakdown. Another confident drop will re-immerse you within the ride, reminiscent of what has been conquered and celebrated in the dystopian sound Headland has crafted in this atmospheric masterpiece. Banging dancefloors worldwide by artists like, Commodo, VIVEK. Deathbed produces the goods for an old fashioned shelling.

If you think of music as a moving, changing form, and painting as a still form, what I'm trying to do is make very still music and paintings that move. I'm trying to find in both of those forms, the space in between the traditional concept of music and the traditional concept of painting.' Brian Eno.

Musician, artist, thinker, activist Brian Eno first came to international prominence in the early '70s as a founding member of Roxy Music, and immediately followed by a series of highly acclaimed solo albums. His visionary production work includes albums with U2, David Bowie, Talking Heads, Coldplay and many others.

His recordings and other collaborations are endless and endlessly known, however his visual experiments with light and video covers an even longer span of time and have been exhibited all over the globe - from the Venice Biennale to the Marble Palace in St. Petersburg, from Beijing's Ritan Park to the Sydney Opera House. Eno's installations are the fertile ground from which so much of his other work has grown and continue to parallel his musical career.

Music For Installations is a collection of original recordings from these installations with new and unreleased work covering the period from 1986 until the present and beyond.
________________________________________________

Designed by Brian and long-time collaborator Nick Robertson, this limited edition 9LP Vinyl boxset comes with a 64-page booklet featuring rare and unseen exhibition photographs and a new essay written by Eno.

- 12 x 12 rigid box set of 9 LPs containing music from Brian Eno's installations past, present and future.
- 64 Page book containing a brand new essay by Eno plus rare and previously unseen photographs from his various exhibitions from 1997 to the present.
- Each album is housed in a beautiful die-cut sleeve designed with long-time collaborator Nick Robertson and all music is guaranteed first time on vinyl.
- 50% of the music contained in the box set has never been available in any format and the rest has only ever had very limited cd release direct to consumer release.
- Vinyl mastered and cut by Matt Colton at Alchemy Mastering, London
- 100 % First time on vinyl, strictly limited edition

Minialbum EP + Insert CD
An Ardent Heart is a focused techno mini album that brings forward Stefan Goldmann's most dancefloor-centered material in a decade. The tracks push and pull relentlessly. Despite their linear appeal, there is an intricately balanced interplay between the heavy-handed kicks, the bouncy bass accents and the sizzling, yet clear-cut details whipped up by the rallying drums. The peculiar, seemingly 'vocalised' mode of synthesis is maybe the most unifying sonic characteristic of the six tracks and one coda. Formant shaping, vowel filters and airstream perturbations let a wide range of sounding elements speak in the tongues of a cybernetic Babylon. Layered polymetric patterns perforate the aural plane with alien scripts. Clearly structured, yet opaque messages that seem to have traveled for aeons emanate from the red-hot circuitry. They spill into a network of delays, channeled down into labyrinthine corridors, enveloped in electrostatic noise. Most tracks build on chance patterns evoked with hardware sequencers and freeform modulation sources. The resulting synthetic systems are as cohesive as they exhibit vast internal variation and range. Thus balancing simplicity and complexity right in the middle, the results are just as immediately gripping as they can feed sustained attention. A wide palette of distortion and overtones mark the contours of individual elements that seem to have near-physical qualities - as if there were metallic strings, thick membranes, a resonating sphere, all struck by electric mallets, caused to vibrate by mechanical bows and sung by silicone lips.

After a debut outing on International Black last year with his best friend Mallard, LT graduates onto Rhythm Section INTL with a stunning debut solo effort: FOREST FLOOR.Aged just 20 years old, Lewis Taylor aka LT is another prodigal talent from the north of England, whose association with Rhythm Section goes back to his school days. A fan of the label from an early age, Lewis regularly made pilgrimages to the pool hall as soon as he was old enough to do so. It was these visits with his old school friend Mallard (who had recently moved down to London from Derbyshire to study music) which proved to be a formative influence, prompting him to try his hand at production...It turned out he was quite the natural, with his second ever effort as an 18 year old making it onto this very EP. Sitting somewhere between electro, house and techno with a healthy dose of breaks - LT constructs complex arrangements with as much of a nod to the retro summer of love stylings of Lone as to the new age bounce of the Pender Street Steppers. The piano house stabs of 'Untitled (Chesney)' reverberate around chopped breaks and screaming samples, anchored down by bouncy organ bass and FM lead synth which really begs the question: 'How did LT develop such a rich lexicon of club culture references in such a short time' We'd be tempted to believe it was just pure luck, if this mastery of rave aesthetics wasn't repeated throughout the EP...
Mesosphere fizzes with arpeggiated energy before giving way to a magnificent yet subtle drop that will serve festival main stages as well as it will back room clubs. Before the EP is over, LT has one more trick up his sleeve in Forest Floor - the titular track which is the musical equivalent of watching the sun rise through a misty glade after a night spent alone in the wilderness. With this gentle touch, LT proves he's more than another kid on Ableton making bangers - he has breadth, incredible musicality and a rare ability to transcript sceneries into sounds. Finishing with 'North Circular' possibly a reference to the free Parties on the London Orbital or merely just a coincidence you decide.
We couldn't be happier to welcome LT onto the RS INTL roster in what feels like a fulfilment of destiny. It's such a great honour to have nurtured and now introduce the next generation via the Rhythm Section platform.

incl. download card]
There is something to be majestic about stalwarts of a certain flock coming together to be creative. The harder side of Drum & Bass didn't have it's own power formation until today. It's as of this day that Czech producer Forbidden Society, formed an alliance with two of his most respected peers to create 3RDKND. Donny, Katharsys and FS all have a strong lean to rhythmic textures, tough drum cuts and experimental FX works. Just in time for the European festival season, the thunderous first effort has arrived; and it's going to turn some heads.

Purge EP is a work of experience, seeking for the outer bounderies of whats sonically possible. The title track is an electronic behemoth which revolves around boundary pushing drum programming and pure unfiltered energy. 'The Artifact' is a straight up dancefloor anthem which uses an ominous vocal of cinematic proportions to build up to the halftime body of heavy hitting drums. 'Fire And Blood' is an experimental work of the rhythmic endurance. The final track is a 3RDKND remix of an original track by Donny and FS. This is the final showcasing of the trinity's sonical excellence. 'Purge EP' will be released through Forbidden Society's self titled label

A great early album from Belchior - much rootsier than some of his later work, with a groove that almost feels like samba soul at times! Arrangements and music are handled by Marcus Vinicius - who uses quick-stepping samba elements on some of the best tracks, mixed with more modern funky styles in this really great way - which creates even more magic with the hauntingly poetic structures of Belchior's lyrics! The songforms are great - very much in the concrete poetry format used on Caetano's Araca Azul album, but with a warmer vibe overall - on titles that include "Bebelo", "Mote E Glosa", "A Palo Seco", "Maquina", "Todo Sujo De Baton", "Rodagem", and "Cemiterio".

Black Lodge Ist Ein Mysteriöser Produzent Aus Manchester, Der In Den 1990ern Mit Releases Auf Mo'wax Und The Trilogy Tapes Began, Mitglied Eines Okkulten Northern Soul-kollektivs Und Der Enigmatischen Formation Gescom Ist, Ferner Dj Eines Pirantensenders, Graffiti-künstler, Badly Drawn Boy-remixer Und Autechre-artwork-designer. Auf Dem Neuen Label Disciples Veröffentlicht Er Nun Eine Kollektion Mit Aufnahmen Aus Dem Lodgewars-archiv, Aufgenommen Im Obergeschoss Des Kings Arms-pubs In Salford, Manchester. Geisterhafte Drone-sounds Und -melodien, Die Die Ränder Von Ambient, Post-punk Und Industrial Besudeln. Die Streng Limitierte Lp-auflage Erscheint Auf Schwarzem Vinyl In Schwarzer Innentasche In Schwarzer Hülle Mit Sticker.

47016 is Killawatt's third solo EP on 47. The 12' vinyl and digital formats will be released on July 20th 2018.
A1 'Accupunk' thrashes and beats with complex rhythm programming. A2 'The Roamer' continues with high-velocity alien minimalism. B1 'Polar Polemic' slows the pace to heavy stepping with cyborg talk. And B2 'Glacia Systemic' decelerates even more so the voices and synth-lines are glaciers twisting in space.
Portsmouth, UK-based producer and DJ Killawatt released the solo EPs 47010 and 47012 in 2017, and featured on the label's first release 47001 with label head Tommy Four Seven.

"Naura Records is proud to be back to present another strong release This time some lost archive material that goes back to the very beginning of his productions. Bleak delivers 3 cuts of his custom recipe but somehow adds new unexpected flavours throughout this Ep even though staying on his formal path. Starting with the A side, Dust (Mix1) takes off with an introspective journey with detroit and classic techno. A real head turner with a classy ride and functional feeling Dust (Mix2) more for the deeper realm, accompanied with enchanted melodies as a twist. Finally on the flip, "Element" samples the heartbeat of a even deeper state, where one is allowed to lose yourself. Get a hold of something solid, for this is a tune that communicates a lot of subtle changes and honesty."

Crew member DJ Format has joined forces with MC Andy Cooper to produce a special little number for 45 Live Records. 'Get On
That', taken from Andy's most recent LP has been completely re-worked into a brand new track with Matt Format adding his
superb production skills. It's classic Format material, super funky, deftly arranged and aimed squarely at the dancefloor. Throw this
donut on and watch the floor ignite!
This 45 comes complete with an instrumental on the flip, ready to get busy in the mix if you're grabbing doubles.

'syncho Sound System & Power' Features The Music Of Nigeria Fuji Machine,
Which Includes Some Of The Country's Finest 'fuji' Master Drummers And Singers, And Is Newly Recorded By Soul Jazz Records In Lagos, Nigeria. Fuji Is The Heavily Percussive And Improvisational Style Of Nigerian Popular Music, At Once Modern And Yet Deeply Rooted In The Traditional Islamic Yoruba Culture Of Nigeria.
Here On This Album Nigeria Fuji Machine's Striking And Powerful Lead Vocalist Taofik Yemi Fagbenro Soars Above A Wild And Energetic Backdrop Of Polyrhythms Played On Traditional Talking Drums, Trap Drums, Electronic And Street Percussion To Create A Powerful Wall Of Intense Sound. Fuji Is A Hi-energy Street Music, Heavily Percussive Which Evolved Out Of The Islamic Celebration Of Ramadan, Which Became A Major Event In Mid-20th Century Lagos. Groups Of Young Men Walked Through Muslim Neighbourhoods At Night Singing Improvised 'wéré' Music To The Accompaniment Of Pots, Pans, Drums, Bells
And Anything Else Available, Waking Believers For The Early Morning Prayer. By The Early 1970s This Music Had Crossed-over Into Popular Nigerian Culture Where It Came To Be Known As Fuji, First Made Popular By The Artist Alhaji Sikiru Ayinde Barrister, As The Music Began To Be Performed Commonly At Parties And Social Events. In The 1970s And 1980s Three Nigerian Artists - King Sunny Adé, Chief Ebonezer Obey And Fela Kuti - All Secured International Major Record Deals Bringing Popularity To The Nigerian Musical Styles Of Juju (adé And Obey) And Afro-beat (fela Kuti's Unique Mixture Of Highlife, Funk And Jazz) Abroad, But In The Process Ignoring Much Of Nigeria's Rich Musical Landscape. Fuji Is, Alongside Highlife, Juju, Afro-beat, Sakara, Afro-reggae, Waka, Igbo Rap, Apala And Numerous Others - One Of These Central Styles Of Nigerian Music. The Singer Barrister Described The Music As Follows: 'fuji Music Is A Combination Of Music Consisting Of Sakara, Apala, Juju, Aro, Afro, Gudugudu, And Possibly Highlife.' Juju Performer King Sunny Adé Described The Difference Between The Two
Styles Of Fuji And Juju Somewhat Competitively Thus: 'fuji Music Is More Or Less Like My Music Without Guitars. It's Like I'm Singing In A Major Key And They Are Singing In A Minor. The Music Itself Is The Music Of Juju Music.' Today Fuji Remains A Powerful Popular Music With Deep And Powerful Islamic Roots
Which Continues To Modernise And Attract New Generations Of Young Nigerians And Nigeria Fuji Machine's 'syncho Sound System & Power' Is A Powerful And Intense Musical Experience. This Album Is Released As A Limited-edition Heavyweight Vinyl Edition (+free Download Code), Deluxe Cd And Digital Format.

"Things take a psychedelic turn for SchleiBen 7 with a welcome to the label of arch exponents of mind expansion in NYC's Georgia and the unlikely but no less diverse inclusion of Balearic stalwarts A Man Called Adam. Having Georgia in the series might not now be a surprise, however discussions with this open, genuine duo started during a visit to New York over 3 years ago and so here, finally realised in this fluid journey of confident pace and harmony, is the best of their freeform evocations. A duo in the everyday sense, Brian Close and Justin Tripp are video / music production teamsters of unnatural talent. Having gained a status of their own that has seen them release for the likes of Palto Flats and FTD, the five pieces that form their contribution drip with psychedelic intent. Culled from archives, the interest is how the tracks - made over different years, locations and situations in life - meld in to something poetic simply by being placed within a specific format. Avant-chimes ebb to rhythmic pulses and erudite teachings before dark percussion and Eastern melodies reach a clattering, but gentle finale. With an upcoming collaborative album with Secret Circuit due on the label later in 2018, as well as recent works with RVNG Intl's Matt Werth and recordings for Sacred Summits' brethren Firecracker Recordings, it's a warm, effusive glow of a welcome. In contrast, the inclusion of A Man Called Adam in the series may indeed surprise but is a false comprehension. The "Sketches" included here show AMCA away from their Balearic pop incarnation of the last thirty years and towards the academia that both members Sally Rodgers and Steve Jones have pursued in the last decade. With both completing PHDs, Sally ('The Diachronic Impact of Technology-Led Abstraction in Oral, Written and Music-based Poetries') is a senior lecturer at Leeds College Of Music, while Steve ('Mobilise: The Carry Principle, Sound and Mobile Media') is based out of de Montfort University, now is the perfect time to highlight the diverse sound environments they have been working in. The music that makes up these recordings are drawn from sound works and audio experiments completed in recent years. From sound toys and apps to home made glass organs and electro-acoustic sound, custom patches to spoken word manipulations, the sketches are excerpts - some evolved from commissions for the National Science Museum, BBC Radio 4 and live performances with the world renowned video artist Milosh JL - fused especially for this release. Bringing these generated pieces in to an audible "mix" creates a discourse of their work in performance, interactions and visual media. An intellectualised album therefore, but still in the premise of the series to allow artists to present something new, unique, discrete, hidden even, all with the aim of giving the recipient the chance to sit back and (un)listen. "

Helsinki's We Jazz Records Presents "y-otis", The Debut Lp From Berlin-based Swedish Saxophonist/composer Otis Sandsjö, Joining Forces With Keyboardist Elias Stemeseder, Bassist Petter Eldh And Drummer Tilo Weber. The Album Is A Forward-reaching, Multilayered Collection Of Eight Originals Penned By Sandsjö And Produced By Sandsjö And Eldh. What You Get Is A Form Of "liquid Jazz", Born In An Era Where The Understanding Of Jazz As A Musical Language Has Evolved Way Beyond The Concept Of The Previous "modern". Informed By Hiphop And Electronic Music, "y-otis" Is Pure Jazz In That The Quartet Stays True To Its Constant Mission Of Creating A New Form Of Musical Communication. Sandjö's Circular Sax Riffs, The Album's Rich Production Touch, And The Chopped-up Jazz Form Creates A Musical Concept Which Stays Melodic And Beat-laden While Being "free" Right To The Edge Of Avantgarde. It's As If The Music Is Sampling Itself, Constantly Keeping Ahead Of The Curve In The Musical Lineage Of Jazz.

Otis Sandsjö (b. 1987) Hails From Gothenburg, Sweden. He Is Known Previously For Example For His Inspired Work On Singer Lucia Cadotsch's Globe-trotting Trio Formation "speak Low", Also Featuring "y-otis" Co-producer And Bassist Petter Eldh. Elias Stemeseder Was Dubbed One Of The Top 15 Young European Musicians To Watch By All About Jazz In 2017. Tilo Weber Ranks Among The Most Creative Young Drummers In The Scene. Stemeseder Is Currently Based In New York, While The Remaining Three Musicians Here Live In Berlin. Live On Stage, The Band Performing The Material On The New Release Is Called Y-otis.

One of the world's most iconic drum & bass acts, Pendulum have announced their return for 2018 with a brand new album and brand new live shows. 'The Reworks' is a project unlike any
other released by the band before, and marks the end of their seven year hiatus, officially launching on 16th March.

To mark their return, the band have announced their first headline show since 2011 at London's unique new space, Printworks . The show sold out in under an hour and will be both an auditory and visual spectacle for fans.

Also announced is Pendulum's return to one of the UK's biggest events - Reading and Leeds Festival . Headlining the BBC Radio 1 stage - the same slot they graced the last time they played in 2010, the shows mark a welcome return for the band in the UK.

The news will undoubtedly be well received by Pendulum 's legions of fans, with the band having hinted at a comeback by returning to the live stage last year, headlining the UK's South
West Four and Nass Festival , and confirming for this years Snowbombing festival in Austria.
For 'The Reworks' , the internationally-renowned band have tapped some of the most innovative talents from over the past few years to deliver dynamic and refreshing interpretations of their
biggest hits and some of their personal favourites. Friends and collaborators Skrillex , Icarus ,Knife Party and Matrix & Futurebound take their turn on this who's who of electronic music
royalty, whilst Noisia 's explosive cut of the now-iconic track 'Hold Your Colour' will be available with the album preorder from the 16th March.

'The Reworks' album will be available in both CD and vinyl formats from the 29th June.

This exciting announcement marks the beginning of a new era for Pendulum , who have long been considered one of electronic music's most important and pioneering acts, famed for their
no-holds-barred live shows. With more huge festival dates TBA across the summer and new originals on the horizon, 2018 marks the an exciting chapter in Pendulum's already lengthy career.

Noisia' s remix of ' Hold your Colour' , the first single to be taken from Pendulum 's 'The Reworks' album, is set for release on 16th March alongside the preorder, with the full album set to drop on 29th June.

After previously releasing Starship Commander Woooo Woooo's - Mastership LP, Left Ear Records have continued excavating the archives of the artist more formally known as Omer Coleman Jr. The result is two handpicked mid 80's instrumentals salvaged from the original master tapes, as well as an extended vocal edit on the flip for good measure.
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After laying his alter ego to rest Omer made a handful of electronic releases on his own Kansas based 'Remo' label. Of these releases Left Ear has selected their two favourite instrumentals: 'Lovin 'Babe' Sure Is Fun' and 'So Good'. 'Lovin 'Babe' Sure Is Fun' was originally released in '85 and was created to celebrate a time in America where 'the economy was good, people were happy and love was in the air', the essence of which Omer captured using his Roland 808 and 303 in what may best be described as Acid-Boogie. 'So Good' on the other hand is a sensual downtempo cut shaped with heavy-bass, telephone samples and guitar solos that conjures images of late Night Rendezvous and compromising scenarios.

In 1982, a group of friends deep into post-punk, jazz and dub got together in Mad Professor's studio and lay down their youthful interpretation of a NYC disco cut. Their unique take included trombone, vibraphone, piano, and an ital dose of tape delay. They called the song Trouble and released two versions (vocal and dub) on their friend Tony McDermott's !Drum! label with artwork inspired by Russian Constructivism. TIP!
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The group, comprised of Justin Langlands, Chrysta Jones, John Schofield, Tom Dixon, and Dave Killen, decided to call themselves A-Team, having no idea that Mr.T and Co. would make them almost totally ungoogle-able 30 years later. The result of their adolescent studio idealism sounds akin to otherdisco misfits like Arthur Russell, Maximum Joy, Talking Drums and wouldn't sound out of place on legendary NYC label 99 Records. Remastered with an extended Club Dub formaximum dance-floor action.

For its third release, Here To Hell welcomes Melbourne (via Adelaide) veteran, Rambl, and his incredible groover 'Doss'.

This third release on the label happened purely by surprise, and what a discovery! The track itself is no accident, but the signing took place after a chance encounter. Richard Campbell aka Rambl, who is one of Melbourne's best and most consistent DJs since the last two decades, had developed a small cult following of viewers via facebook, where he had been providing live video coverage of Australia's wild weather in a kind of comedy-weatherman format. Once these updates caught our attention, the magical facebook algorithm placed all of his content at the top of our feed.

One day his video moved away from the wild South Australian coast and into the studio. Rich - who we also know for his huge stature akin to an NBA basketballer, and his brain for Mathematics and Computational Biology - was bopping that giant brain up and down and making his 'bass face', with a mixing desk and some speakers (and some beers) in the background. The soundtrack to this video was completely mesmerising. We sent him a private message immediately: 'what the hell is THIS!!!'

His reply: 'This is one of mine, it's not finished yet but it feels good'. Our reply: 'It feels INCREDIBLE!!! Finish it and let's put it on wax!'

So today we bring you 'Doss' and we expect you'll love it.

On the flipside we've invited another Melbourne man, Sly Faux, to demonstrate why he's appearing in the playlists of Richie Hawtin and Maceo Plex, and why his EP on Nicole Moudaber's Mood was a bestseller. He's also just remixed The Presets and continues to impress with his tight productions. Sly Faux's remix takes the original Detroit-inspired techno-funk and twists it into a different kind of main room banger.

Tachyon Audio is a vinyl label that's focused on sounds in the techno realm targeting sweaty, dark dance floors, with large, high-quality sound systems.

Inhabitants come back strong in Mutations Volume II, Tachyon Audio's second offering. These two primates are often found inhabiting dark spaces, forging ahead on complex math equations. Their distinct, driving, mathematical, and drumming techno is a result. Expect more solid work and performances from these two mysterious beings on Tachyon Audio as the label continues its progression.

Tachyon Audio's second release follows a similar format to the first, in that, TAC002 is a diverse EP that touches on techno sounds that are helping to lead the march forward into the future of sound production and style. The second Tachyon Audio release also comes from the mysterious dark studio of Inhabitants, who build off their first, and display their precise, technical forms of production.

The A-side track, Mut11 (A1) is a sci-fi exploration that pleases the ear with thick sub and low basses, along with a pitch-twisted melodic element, and the Inhabitants distinct sound effects and automation. The track has a strong impact immediately, as you can feel the intensity of elements being added, manipulated, and combined, and a sturdy, grimy feel pervades the piece with an interesting driving rhythmic percussion.


Side A ends with two separate open-source NASA samples. The first, Sounds of Enceladus - Radar Echoes from Titan's Surface (A2), is a locked groove and according to NASA, 'was produced by converting into audible sounds some of the radar echoes received by Huygens during the last few kilometers of its descent onto Saturn's moon, Titan. As the probe approaches the ground, both the pitch and intensity increase. Scientists will use intensity of the echoes to speculate about the nature of the surface.'


The second sample, Cassini - Saturn Radio Emissions #2 (A3), is another locked groove. The sound as described by NASA, 'Saturn is a source of intense radio emissions, which were monitored by our Cassini spacecraft. The radio waves are closely related to the auroras near the poles of the planet. These auroras are similar to Earth's northern and southern lights. This is an audio file of radio emissions from Saturn.' These samples are poised for reuse in production and make for good intro and looping material during performances.


The second side of the EP starts with Mut1 (B1), a track that is well-rounded percussively, with a strong kick drum driving the track forward. A simple looping and effected tom drum also helps keep a good movement to the track. An ominously melodic pad that evolves subtly throughout the track helps to keep the Inhabitants err present throughout the track.


Mut8 (B2), is another acidic venture with solid percussion. The looping and other melodic elements provide a solid stricture, with the more adventurous sounds being placed and effected incrementally with distinct Inhabitants flare throughout the track.

Teste returns with The Box Man, a five-track EP that marks their first release of original material in 25 years. Formed during the early nineties in Hamilton, Ontario, they put out only three official records between 1992-1993 on Probe Records, most notably 'The Wipe,' which is regarded as a genre defining classic, while the follow-up 'Regions' also served as a template for the ensuing sonics of contemporary techno. With only a handful of live actions, the final chaotic show (public disturbance) occurred for Pure in Glasgow 1994. Afterwards, the original Teste lineup of juvenile delinquents disbanded but unwittingly ended up defining the hypnotic and drugged out strains of today's afterhours techno parties. The project vanished for decades until reactivating the chaos in 2014, promoting a slew of remixes 'The Rewipes,' by artists such as Rrose and Terence Fixmer, on the Edit Select imprint.

Since then, original member David Foster, still at large as //HUREN//, has been slugging it out in the fringes with influential output on the seminal Zhark Recordings Berlin and has collaborated as O/H with Rich Oddie of Orphx. First meeting on Mayday 2017 in Berlin, a new alliance with Martin Maischein aka Goner formed. Goner is likewise a veteran with essential output under various monikers on imprints such as Force Inc., Editions Mego, and Hospital Productions. From that pairing, The Box Man came into being for the second release on BITE, the Berlin techno label run by Hayden Payne and Florian Engerling.

The Box Man picks up where Teste last left us with their revolutionary vision of techno and continues to further their interdimensional manifestation of insanity and formation. Pure techno serving as a method of psychic expulsion and self-reckoning. From the opening, the eponymous track approaches full panoramic throttle as metallic synths creep 360 degrees around the listener, setting the tone for panic and loss of cognitive control. Teste then moves into the stealthier outpatient techno rhythms of 'The Long Term Care Facility' and 'Thieves Are Operating In This Area'. The EP contrasts its propulsion with different interpretations of its blueprint. 'Foaming At The Mouth' delves into Cabaret Voltaire-alike rhythm box violence until all is closed with the comedown melodies of 'Lyubov'. Through highly adept methods of sound design and neural interpretation, Teste once again cuts apart reality with their music, expressing nightmares and visions via new rituals and mind control techno.

Repress

SNTS is an underground techno label, commitment to the vinyl format as the main pillar and overall bring the electronic in the anonymity.

* With a number of high profile releases already behind him for labels including the legendary XL Recordings and Dusky's 17 Steps imprint, Hugo Massien has carved a sound for himself that sees him bring together elements from house, techno, dubstep and hardcore, all combining force to produce this killer 4-track EP, running at the techno-friendly tempos of around 128bpm.

* 'Advanced Aerial Threat' kicks things off with a fractured half-step rhythm that gives more than a nod to his formative years as a fan of the early UK dubstep movement. Stark, deadly and meticulously constructed, the rhythm taps a pace as wild bass stabs rip across a theatre of sound.

* Next up is the delightful melancholy of 'Ursa Minor' which takes a rolling breakbeat as its backbone before a Reese-like bassline emerges from beneath, rising and empowering. An intimate piano line comes in, providing an introspective element, balancing the otherwise rave-savvy ingredients in place.

* 'Candy Flip' takes things into a more electro direction, providing a reliable work out for the dance floor as the tightly tuned drums and bass hold down the spooky synth stabs.

* Last up, closing the EP is 'Divisions From The Start' where once again we see Hugo's intuitive sense of soundscape grandure, creating a kaleidoscope of moods all strung together with precision drum programming and heavyweight sub work.

* DJ Support from: Shed, Loefah, Pinch & many more.