Beats News

Another slow burn classic EP from Nino, World Champion did not reach the same levels of fame as The Gun, but like its older brother, this EP has gained in respect over time, and become another much loved and much wanted Nino classic. This repress is lovingly remastered from DAT and available again for the first time since the original run

"Run the Jewels - Hip-hop's preeminent collaboration between veteran rhyme-slayers El-P and Killer Mike —have gone from a whim-driven underground rap project to a worldwide sensation since the release of their 2013 debut Run The Jewels. Mixing the industrial grime of New York City with the vibrant bounce of the dirty South, they forge hip-hop's future while adhering to the core tenets of its bedrock: gymnastic displays of skills, incendiary political rhetoric, merciless braggadocio, battle-honed assholery, R-rated punchlines and a back-and-forth that brings the interplay of the shell-toe Adidas era screaming into our contemporary nightmare.

Tearing up the music industry rulebook, their self-titled 2013 debut was originally released through a series of website-crashing free album downloads. Featuring Outkast's Big Boi on Banana Clipper and Prince Paul on Twin Hype Back, it's a "rough and rabid ride"; a "swaggering victory lap for two artists at the peak of their creativity"; and been dubbed "one of the best hip-hop records of 2013"."

Maverick UK producer Kevin Richard Martin (Zonal / Techno Animal / King Midas Sound) joins Relapse for the release of his devastating new double album Machine, his first solo instrumental record as THE BUG.

Machine started life as a series of self-released "floor weapons" (to use Martin’s description), landing in installments between 2023 and 2024 on the Bandcamp page of Martin’s own PRESSURE label. And now - always his intention - Martin has collated a single, powerful, unified statement from those EPs. The album detonates apocalyptic dread-tech mutations of crushing intensity, fusing a unique new strain of futuristic dub with deadly deep electronics and killer bass riffs worthy of the heaviest metal. It is, writes Martin, “ice cold and dystopian.” It celebrates “atmospheric pressure, and the joy of full body assaults, via oversized sound systems in undersized club rooms.” Machine also represents the latest metamorphosis of the "Macro Dub Infection" philosophy Martin germinated with the groundbreaking series of compilations he began curating for Virgin Records as early as the mid 90’s.

The Keplar label presents the next instalment in a series of reissues from the catalogue of Sasu Ripatti’s seminal Vladislav Delay project. Originally released on Mille Plateaux, the vinyl edition of »Entain« from 2000 omitted two shorter tracks and included all others in an abridged form. With this reissue, the full album as it was pressed on CD is finally made available on vinyl. Besides a new remaster by Kassian Troyer, it was also given new cover artwork by Marc Hohmann that picks up on that of the »Whistleblower« reissue, released in early 2023 by Keplar. This serial visual approach highlights the conceptual continuity between those masterful explorations of the interplay between dub techniques, noise, and repetition.

Ripatti himself had reworked material from 1999’s »Ele« album for the release of »Entain,« which means that it can be considered the debut album proper of his Vladislav Delay project. It saw the Finnish artist aim more vigorously for abstraction than in his earlier releases as Vladislav Delay for labels such as Chain Reaction, which were collected on the iconic »Multila« compilation in 2000; another milestone from his back catalogue that has been reissued by Keplar in recent times. To mark this special occasion, »Multila« will be repressed by Keplar with a new artwork that matches the new design of »Whisteblower« and »Entain«.

»Multila« and »Entain« correspond with each other conceptually as much as they seem to differ on a musical level. The material on »Multila« was clearly indebted to the Berlin dub techno sound, marked by its grainy and at times abrasive sonic aesthetics. From the very first moments of the 22-minute long opener »Kohde« however, it becomes clear that »Entain« takes things further away from the dancefloor, aiming less for physical impact than for intellectual stimulation. A sort of electronic minimal music, it was primarily interested in letting discrete elements freely come into play with one another.

Much like »Multila,« however, »Entain« highlighted the subtle differences embedded in what only feels like repetitive music. Of course the massive bassline and ghostly dub riddims that permeate »Notke« as well as the deconstructed beat at the core of »Ele« still hint at Ripatti’s roots in beat-driven music. However, they also make his artistic transformation audible by turning their sources of inspirations into something entirely unheard of. »Entain« took the dub techno formula further than any other record before it—onwards into the realms of pure abstraction.

mindSET is the ninth album from enigmatic producer SW., directly following this summer’s excursion into his trademark techno, IDM and bleep soundscapes, on the myDEFINITIONS Vol II album. But with his mindSET album SW. takes a left turn, as pioneers often do, and we find ourselves on the lesser traveled side roads of electronic music history. Or in SW.’s own words: “the more abstract leftfield elements.”
It’s in these less-defined areas that SW. finds his sweet spot, building dancefloor soundtracks that defied definition. And with mindSET the sounds and the machines might have changed, the methodology remains the same.
“It draws from what was more generally seen in leftfield as a term for the slightly off-kilter house and broken beats that didn’t fit neatly into classic genres, whether that was Chicago house, French garage, drum and bass, or broken beat. It’s more about those in-between sounds that never really took off, only appearing briefly in the early to mid-90s and then quickly disappearing. There was a certain magic in that moment, which I wanted to capture. Also, the entire album was produced using classic analog equipment, with old machines that were used during that era. That’s the approach I’ve taken.”
The eight tracks on mindSET are shaped out of de-tuned techno pop synths and heavy, syncopated drums, grooving along chopped-up polymeters to create an eerie mood, as if orbiting an undiscovered planet for the first time. The harmonic movements are often bent out of shape, sometimes veering towards Gherkin Jerks or Cristian Vogel territory. But in the end, the sounds are less important than the atmosphere, and the tracks represent an attitude or an approach - to creating the music as well as experiencing it. mindSET is a nod to those dancers sharing an oddball moment, and for those of us on the same wavelength, it's a vibe we can all get inside.

A rhythm created during a common dream, a journey repeated by the rolling of the snare drums, voices bewitched by a humid path, its synthesizers are the only cause of this crystalline mist. It's time to open your eyes, this first side is full of movements ready to hypnotize and energize a dancefloor waiting for these sonic gems.






f B3 | SystmaX - Try8

DJ Support: Alix Perez, Hybrid Minds, DJ Marky, DJ Krust, Doc Scott, Pola & Bryson, AC Slater, Imanu, Hamdi and more.

1985 Music presents the first edition of 'Fragment' their new various artist series. Featuring familiar faces from the imprint and special guests, this album combines the 1985 Music sound in all forms.

Featuring tracks from label head honcho Alix Perez with the strictly soulful 'Bloomsbury', while New Zealand producer/DJ Headland reworks 'Trust' the anthem from EPROM. Joining the fold GLM, Eijer and Satl make their debut on the imprint while regular artists Visages, Drone, Bredren and Ebb continue to deliver the goods.

Radio support: Charlie Tee BBC Radio 1, Fred V Kiss FM, Mary Anne Hobbes BBC 6 Music, 1985 Music RinseFM show (monthly).

"Pablo's Eye is the science of studio pressure, when engineer becomes artist. Appropriating left and right as well as front and back, Pablo's Eye uses the mixing desk to examine and exhaust the possibilities of moments. Pablo's Eye is a record of that examination and exhaustion, but it is also a record of its own inner space. By means of depth placement, psychoacoustics and spatial fug, Pablo's Eye is experienced in the deeper reaches of the body, bypassing the conscious part of the mind entirely.

Pablo's Eye is the turning of recorded music inside out to show its seams. It interrogates a song, stripping down the body of the song to reveal its bones. Pablo's Eye is in the interstices of music, it plugs the gaps, fills the holes. Pablo's Eye seeks out the concealed mechanisms, it is a song's hidden agenda.

For this compilation, it was decided to present the softer air-beatings of Pablo's Eye. More than anything, Pablo's Eye is a temporary atmosphere, like a taste or a dream..."

2024 Repress

All in that stark contrast between ethereal spaciousness and steely, martial rhythms out the industrial spectrum, 'Far Field' takes us on a voyage across the board, from breaks-heavy machine stunts to washed-out tapestries, via EBM-laced detours and junglistic maneuvers. Investigating the nexus zone between dance functionality and limitless escapology, it extrapolates both artists' blends to further immersive, hypnotic effect. Taking over the A side, .VRIL gets the ball rolling with 'Lost Together', which sets the tone on a low-slung, nostalgia-drenched note; combining the syncopated swagger of downtempo techno with ambient-oid stasis and static-filled opacity. Like watching an all-metal sun sinking past the blazing skyline. Revving up the engines, 'Fnord' feat. RAeYN conjures up a way more muscular arsenal of big-room-ready wares, from aggro snare salvos to anthemic synth kinetics, through that replicant-hunting kinda vibe. One to have the Saturn rings go hula hoop, with all woofers and brains in the vicinity melting in XTC. Shutting the A side off, 'We Believe' returns to a lighter, more vaporous mindset but sure implements that signature heavy swing of .VRIL, flush with textured kicks and FX-soaked arps. True monster prog swell. Flip it over and there's HVL dishing out a textbook example of his vortical electronic furls with the title-track, 'Far Field' - an oneiric drift that slowly rises from its heavy-lidded slumber, ascending towards bleepin' n bloopin' experimental effervescence as bars fly by. A number bound to hack your body and mind into two distinct facets, and while one dances its way frantically across the ever buzzing space/time continuum, the other shall reach a state of healing calm and transcending ubiquity. Smoothly shuttling us off to the upper layers of the ionosphere, 'Lancet Mxi' clenches it on a trippy note, taxiing us midway zero-G UK bass territories and eerie ambient abstraction. HVL's total, widescreen vision at its most unhindered, all set at expanding your mind to yet uncharted horizons of sound and closing the gap between two distant, estranged galaxies. A fractured headspace to both dance and dream to. *Dressed in a fine piece of artwork courtesy of Daniel M. Diaz, 'RYCL021' comes pressed on 180g audiophile black vinyl for optimal playing and listening experience.

Orange Vinyl 2024
Repress

Shall Not Fade welcomes Cologne’s DJOKO to the family with 5 slices of scorching feel-good house. Over a decade spent honing his craft, DJOKO has steadily gained recognition for his innate ability to craft a groove. Slick house infused with 2-step, garage and breakbeat energy - this one has us longing for the dance.

Kickin’ off with infectious, 2-step energy ‘Hooked On You’ is a poppin’ jam for hazy days and sunkissed dancefloors. Next up ‘Facettes’ takes retro elements and gives them new life in this glorious funk-filled, swinging cut. Taking it up a notch on, ‘Bad To The Bone’ is a chunky house pumper with all the right ingredients - stripped back vocals, swirly synths, piano stabs - dancing over a killer groove. Techy B2 ‘Jode Lade’ nod to DJOKO’s musical upbringing. Bouncy and minimal, his most stripped back offering on the EP but still prime dancefloor heat.

This is a rare original press from the masters behind Myriad Recordings as they were just testing the vinyl waters...two gorgeous licks of jungle on a lovely white label....

Welcome to the second in the Knite Force Crew series. This is a series of limited edition triple albums from the very best and dedicated of the Kniteforce artists.

This triple pack vinyl album contains 10 superb tracks from Sunny & Deck Hussy, plus two remixes from rave legends Luna-C, and from Jimmy J. The beautiful old skool rave styled artwork was hand drawn by the original Kniteforce Records artist, Rebecca Try.

It will never be repressed and is limited in number!

Endeckt die Electronic Music Anthology Collection neu. Diesmal dem TipHop gewidment. Echte Perlen, liebevoll ausgewählt vom französischen privaten Rundfunksender FG, gesammelt auf 2 Vinyl.

Die Musik ist tief in der DNA der Buddha-Bar verwurzelt und hat schon immer eine Schlüsselrolle in unserem Universum gespielt. Unsere musikalische Handschrift, die 1996 in Paris entstand, spiegelt die traumhafte Atmosphäre unserer Restaurants perfekt wider. Subtile und hypnotisierende Mixe, eine perfekte Mischung aus mystischen House- und elektronischen Rhythmen mit afrikanischen, asiatischen, indischen, lateinamerikanischen oder orientalischen Klängen... Buddha-Bar Music verbreitet seit 1996 seine guten Vibes in der ganzen Welt. Dieses dreifache Best Of zeichnet unsere Geschichte von 2014 bis 2024 nach und versammelt von Ravin sorgfältig ausgewählte Titel und Künstler, darunter Buscemi, Sahalé, Desert Dwellers, Kenneth Bager, Ali Kuru, Santi & Tugçe, El Bùho, Troels Hammer, ...

Northern Front Records 7th vinyl release by Response & Pliskin is a somewhat oppressive sounding record with a dark atmospheric presence running throughout the tracks. The full artwork sleeve by Mark McGuinness compliments the sound of the record and it’s title given it’s bleak look. 

Mastered by Simon Davey (Exchange)

This essential album is a standout in the world of dub, reggae, and sound system culture. Featuring a remarkable collection of 10 powerful vocal tracks and 10 profound dub mixes that highlight Alpha Steppa's unique and innovative production style. Bringing together a global lineup of some of the most exciting voices in contemporary reggae, from Jamaica, the UK, Zimbabwe, the Seychelles, Brazil, the USA, Senegal, Italy, and Spain. “Collision of an Ancient Mind and a Modern World” intertwines the rich heritage of dub reggae with a vibrant, futuristic musical landscape.

I've had "Night Safari" for a long time, it's been a favourite of mine for the past few years, I've played it in multiple mixes (including my mix for Resident Advisor) and I was quite eager to have it released on Future Retro London. However, Coco had other plans, wanting to put it on an album he was working on for his label Myor and he was quite adamant on that.

Eventually though, with some persistence and back-and-forth, we were able to work out a deal where I get to release the tune first on a single, with a new tune of his (Into The Groove) on the flipside and then afterwards, he can have the tune for his album (which should be out in a few months time) and everybody wins.

Shout out to Coco for the music (look out for his Computer Love LP coming later this year on Myor, which will feature Night Safari), Alice Palm for her (brief) vocals on Into The Groove and to Rob Halhead on the illustrations used for the artwork.

Minimal wave legend Das Ding is back on Electronic Emergencies after 10 years with a stunning selection of archival tracks from retrieved tape recordings. In the early eighties, Danny Bosten got together with his friends after school in his bedroom studio, somewhere in the bleak Dutch countryside. They experimented with cheap analogue gear and made music to kill time. The sound is raunchy and slightly experimental, but already unmistakable Das Ding. New wave, early EBM and proto techno are found this album, pressed on clear vinyl. To preserve the original atmosphere and sound, the tapes received the Ruud Lekx mastering treatment.

‘Hidden Lines’ is the debut album from rising jazz/electronica outfit

Kinkajous. Recorded by Jordan Rakei drummer Jim Macrae and mixed by

producer Brendan Williams (GoGo Penguin/Dutch Uncles), the sublime,

interwoven melodies and drums invoke the likes of Steve Reich, Floating

Points and BADBADNOTGOOD.

A1 - The Abyss
Opening his debut EP for Curvature, Law jump straight in with an intense, suspenseful aura which immediately surrounds The Abyss, with crunchy Hot Pants breaks rolling us forward for the first act before a timely and unexpected switch to heavy, punchy amens. With whooshing vocal hits colouring the vibe as echoing piano keys provide delightful melodies throughout, The Abyss is an impressively varied heavy hitter and a strong indicator of Law's talents.
A2 - False Awakening
Yearning atmospheric padwork introduces False Awakening, a deep and compelling piece which utilises the Apache break to great effect, with a myriad of filtered samples ducking and weaving around the break. Female vocals set a sorrowful tone, delicately punctuating the stirring atmosphere as the breakbeats shudder and dart with a suitably wrought 808 bassline complementing the intensity of the track.
AA1 - Six Below
Law continues the strikingly atmospheric tones with Six Below, a track with a distinctive organ melody sitting atop a backdrop of darkly FX and deep, expansive pads which blanket the soundscape. For the breaks, we are treated to a very danceable two-step pattern of old school drums, guaranteed to move you and your audience while a subtle, deep bassline rumbles along below.
AA2 - Ascent
Closing the EP with a viscerally brooding and orchestral vibe, Law utilises a wide array of production techniques with Ascent, drizzled with menacing, echoed vocal hits, understated filtered melodies and inspired female vocal samples. An exquisite collage of deceptively varied and weighty breaks zip back and forth making this closing track something truly special for the listener and the dancefloor.
Words by Chris Hayes (Spatial / Red Mist)

In my opinion, Nebula is one of the best new producers for the atmospheric side of jungle & I've been a big fan of his work for years, following & supporting his music on Scientific Wax & Subtle Audio, so I'm very pleased to have a release from him on Future Retro London.

When he sent me "The Future", it was originally for Meeting Of The Minds, but it was already so fully formed and finished, that I felt like it was better off being released as is, and so I did a VIP version of it to go on the b-side. Big thanks to him for the great music!


b b1. The Future Tim Reaper VIP

Rian Treanor keeps knocking new doors of possibility with his new label Electronic Music Club and its initial focus on Rotherham Sight & Sound, participants of a community-based initiative in their shared post-industrial home town Rotherham. Utilising software synths designed by Rian and his dad Mark Fell, the trio twist out vortices of shearing, asymmetric anarchitecture, rudely resembling the sort of hyper-contemporary styles alluded to in Rian’s solo works, but inflected with cranky timing and an intuitive freedom that bears extraordinary results, especially when considering the fact the trio had no prior musical ability, and only encountered electronic music a few years ago.

After a couple of years of practice and performance, ‘Action Potential’ now firms up their quicksilver sound for club and home buzzes with seven actions that warp and morph from the needling jolts and hoof of ‘Pass The Go’, to shuddering detonations in ‘Dial’, each with a properly electrifying force carrying a genuine futureshock. Working within Rian’s systems-based framework, Anne, Kathleen, and Mick deploy a tactile feel for the machines, finely honed over the course of many sessions at the Rotherham Sight & Sound facility, that uses their visual impairments to synaesthetic advantage.

Between the wickedly metallic ragga swivel of ‘Hold’, the diffractive chain reactions of ‘When It Ends’, and more tempered, sloshing sensuality of ‘30 Seconds’, the trio follow their noses down wormholes that manifest an ideal of accessibility and expressionism within electronic music contexts that Rian and Mark have long worked towards, with Anne, Kathleen and Mick’s relative lack of cultural conditioning in this paradigm prompting them to act on pure instinct

In Signal, Brendon Moeller takes his expertise in techno, ambient and dub techno into deeper ambient and drone territory, crafting a richly atmospheric journey through sound for Constellation Tatsu’s thoughtful cassette label.

This album gently balances textures, merging natural and synthetic elements for a unique sonic experience. Highlights include the track 'Light', which opens with a minimal drone and subtle, pulsing sub-bass notes, setting a calm yet immersive tone. In 'Wires', Moeller skillfully intertwines organic and electronic soundscapes, bringing together the natural and technological in seamless harmony. 'Nowhere' shifts to a more aquatic feel, conjuring the sensation of being submerged in an otherworldly lagoon. The serene, electronic layering in 'Bask' adds beauty and peace through calm sequencing and warm tones. Closing with 'Beam', Moeller expertly blends real-world sounds and hints of a surreal, alien atmosphere, rounding out an album that’s both tranquil and otherworldly. Signal encapsulates Moeller's thoughtful production approach, giving listeners a deep dive into ambient landscapes that feel as expansive as they are introspective and adventurous.

25th Anniversary 5 x 12inch vinyl using the original print files. 3mm spined sleeves with black paper inners in a 12inch black lined lift off lid hard cover box, gloss laminated with 16 page booklet of original notes/photos and background to arguably the most influential Drum & Bass album.

Optical Feb 2023;
“We are doing a luxurious high quality boxset to celebrate the 25th anniversary of the original release with the original artwork and top quality vinyl and lovely 16 page booklet with lots of photos and art and words from everyone involved in making the record happen”

* Recorded between 1997 and 1998 by Ed Rush & Optical, the album was released on the 16 November 1998 on Virus Recordings, in vinyl and CD formats. The CD edition was a double disc, the second disc containing an hour-long continuous mix while the LP was a five-disc set housed in a widespine sleeve, with a single track per side. “Splinter” by Fortran was a collab with Ed Rush, Optical and Fierce. The recordings were produced and mixed in Optical's custom built studio, based in Rob Playford's Moving Shadow offices, St Anne's Court, SOHO, London. The final mastering was done by Stuart Hawkes at Metropolis Studios in Chiswick, London.
* Wormhole is considered to be the very first LP in the Neurofunk Genre and is a drum and bass scene classic

Did you ever experience the feeling that, while listening to an album, immersed in the music, you weren't thinking anything and, in fact, did not have to think anything because the music was somehow replacing your thoughts and simultaneously translating or mapping them? And that you'd be entirely happy to continue having your thoughts and the music merge into one, your cerebral activity just 'being' that music? But then it also hits you: what does that say about my thoughts and mindset? In particular, why am I so comfortable with my brain twisting and speeding like a renegade droid in an escape pod gone berserk somewhere in the voids of outer space?

As more than a few listeners will agree, the darker styles of drum & bass are an exceptional musical fit for sci-fi themes and atmospheres, especially the more gloomy, brooding and apocalyptical ones. Ed Rush & Optical's Wormhole undeniably is one of the albums that does that best. From the ominous beginning tones of Mystery Machine onwards, the producing duo will have you hooked, or at the very least intrigued, with some the heaviest bass lines ever (see esp. Splinter and Millennium), up-tempo snares and scratchy grooves (Slip Thru, Compound, Fixation), and an array of instrumental and vocal samples throughout, used sparingly enough to give the impression of minimal tweaks for maximum effect. Tracks like Glass Eye and Dozer still connect with the dub and reggae roots of drum and bass, while Point Blank and Compound mix elements of ska and funk, giving them a heavy futuristic twist. The main mid range guitar-like sample in Compound is one for the ages, together with its pounding bass lines. As stardust sparkles through the title track Wormhole, the sound of the album also seems to reach the peak of its maturity (if something like electronic bass riffing exists, it’s on this track), and the journey your ears have been taking reveals itself as one that translates intergalactic shortcuts to synapses in the microcosmic realm of the brain. The closer Lithosphere, then, forms the short but necessary ambient decompression.

Alien, otherworldly, eerie, relentless and infectious are all predicates that fit the musical vibe of Wormhole equally well. The tunes are irresistibly funky in some kind of deranged way, bursting with dark attractive energy. In hindsight, there could not have been a better time slot than 1998, pending Y2K, to drop this aural bomb of millennial anxiety and anticipation. The album captures that feeling and historical moment perfectly, but also continues to convey it as a timeless experience. There’s plenty of background and analysis to read on the internet: on how Wormhole hit and changed the face of drum & bass, instantly making it fashionable far beyond UK club culture; on how its stylistic leap from the jazzy and ethereal to the relentless and dark single-handedly initiated and installed the subgenre known as Neurofunk; on how its militant drum tracks and bass lines had a significant hand in winning over fans of metal to electronic music; etcetera. You will also have little trouble finding all the nerdy technical specs: on how the album retains the ‘warmth of older pre-PC production’ as it was made on ‘outboard gear’; on the arsenal of studio equipment used (including the whole range of Boss guitar effect pedals); on the quality of the drum samples (half of which being the artists’ original recordings of drummers); and whatnot. But the year is now, and the fact is: Wormhole still hits the spot.



Studio Equipment:
Mackie 32/8 32 channel, 2 x Emu E6400 Ultra (1x8 outs, 1x16 outs), Alesis Quadraverb, Focusrite Green Eq x2, Focusrite Green Compressor, Focusrite ISA430 Producer Pack, Lexicon Alex, Lexicon MPX1, Alesis MidiVerb4, TC Electronics Fireworx, TC Electronics Finalizer, Joe Meek VC1, Drawmer MX40, CryBaby Wah Pedal, Boss Pedals - (Too many to list but all the popular ones), Novation Basstation, OSCar, Sequential Circuits Pro1, Prophet 5, Wurlitzer, PPG Wave 2.1, Neumann TLM 103 mic, Fender Strat 1972, Oberheim/Viscount GM1000, Korg Z1, Kawai K1r, BSS DPR-402 Compressor, Unitor8 Midi output, Kenton Midi to CV box, Yamaha NS-10M monitors, Dynaudio BM15 monitors. Apple LCII computer. Cubase SX 1. All top quality, shielded, balanced, gold core, custom made wiring throughout, with a fully balanced +10db signal path.

Obliques presents Poème symphonique. Electronic music composer Jonathan Fitoussi revisits Symphony No. 1 “Titan” by Gustav Mahler as part of a world creation commissioned by Radio France. Concert recorded live in the large auditorium of La maison de la radio on November 18, 2023, Paris.

Limited Edition clear vinyl LP - No Digital

For over a decade, Mako has been a distinctive presence, both as an individual and through his music, a talent we've proudly showcased at Metalheadz.



This September, we are honoured to release his third album on the label, and his second solo endeavour, which serves as a seamless continuation of his earlier work. His 2020 album, 'Oeuvre', represented years of dedication and refined production, solidifying Mako's esteemed place within the Metalheadz family.



Now, four years later, we're thrilled to present 'Oeuvre – Part 2'. This 12-track album is a celebration of Mako's deep passion for music, while also reflecting his sometimes disillusioned views on a modern era that often seems to pass us by. In a world where individuality can struggle to shine amidst an overwhelming flood of content, Mako's superior production stands out as a beacon, demanding not just recognition, but active listening.



Mako's commitment to his musical community is evident throughout the album, with contributions from long-time collaborators Fields, Hydro, Villem, and Mikal, each bringing their unique expertise to the project. The album also features a special collaboration with the late Marcus Intalex, a friendship that blossomed in the years before Marcus' untimely passing and one that continues to bear fruit.



Diving into the heart of the album reveals Mako's charm as a producer: from the captivating vocals in 'Feed You', the sleek homage to techstep in "Suspension', to the pure dancefloor energy of 'Direct Source', a track long favoured by Goldie. As expected, Mako also delivers deeper, more contemplative pieces like the album's opener 'True Expression' and the graceful melodies of 'Overshare'.

Manifesting a soporific vision of classic dreampop, Man Rei lands on Glasgow’s Somewhere Press with one of the years most memorably hushed albums; unfolding through an hour of quietly soaring songs that split the difference between Enya, Seefeel and Grouper.

Kristin Reiman, aka Man Rei, elevates and expands the choral tradition of their Baltic homeland with the smudged drift of this quietly epic new album. A moody, dimly lit summoning of ambient music touched by the enduring influence of classic dreampop, it’s a record full of pared-down arrangements and luxurious instrumentation, elevated by goosebump inducing vocals that make the thing so memorable.

The soothing pulse of Kranky's early years (think Labradford or even Windy & Carl) moves with tranquil momentum, playing faded lower-register riffs to accent a pervasive longing in the lyrics. On 'Edge knot city', the influence of Harold Budd and the Cocteau Twins' hangs in the air as Reiman marries muted electric piano with pastoral field recordings. That voice, blurred at the edges to enhance its ambiguity, cuts through the clouds like a knife, inserting a melancholy earworm into wafting ambiance. Even the lengthy 'Intermission', a wordless piece, maintains a masterful balance between emotional weight and atmospheric vapour.

On 'Witless', they bury the fragments of a love song beneath synth distortions, turning pebbly, slapbacked claps into a rickety rhythm on 'The thread', cooing over piano phrases that vanish into the aether until that voice takes over completely. It's gorgeous, restless and confident material that immediately sinks itself deep into the psyche - its familiarity is almost a smokescreen; the closer you listen, the stranger and more beautiful Man Rei’s world becomes.

It feels like most every week Burnski starts a new label that is immediately as good as all his others, and here is this week's case in point: Reliance is a super limited new outlet from the super producer and it kicks off with ODF who you may know from a brilliant remix of Special Request. 'Yeah (Uh!)' opens with bubbly basslines and neon melodies and is a timeless garage bumper. '2 Turn' then brings the funk with tight bass and lovely silky drums, 'Rattlesnake' is more dark and menacing thanks to the trippy samples and low end and 'Back To 98' is a stateful shot of garage nostalgia direct to the veins.A

One Million Eyes, previously known as Templehof, return with a new album of balearic ambient, previously heard on two excellent releases for A Strangely Isolated Place.

This time appearing on legendary cassette label Constellation Tatsu as part of their fall combo, anyone familiar with their previous work will know what to expect. Dreamy, sun hazed analog synth lines mix with deep fourth world soundscapes that wouldn’t sound out of place on 90s labels such as Pete Namlook’s Fax or Instinct Ambient. The first half of Signal begins slowly, eyes wide shut, with 'Nickel', a slow pulsating jam of chilled out psychedelia. 'Marea' blends organic instrumentation with distant, processed voices. ‘Koala’, the deepest cut on the album, leads to a mood shift in 'Opalescent' that will sound eerily familiar to any Gaussian Curve fans. 'Polaris', 'Solstice' and highlight 'Landscape' close out the album in style.

For fans of anyone from Music From Memory, Jonathan Fitoussi & Ishq, there are few better ways to relive your memories of later summer.

In Scratch Trouble ?
" Crystal Blue Cuts !! "
Sounds & Effects, Noises and Voices , Guns Blazing, Drug Stories, Thuggish Brawls...
" Cut 'Em Now !!! "
(4 instrumental tracks in bonus to download inside composed by Ugly Mac Beer, inspired by the iconic characters from the series "Breaking Bad")

Here comes the 11th act of our 10" series. Another fusion of obscure 60/70s grooves, epic 90s conversations and other unknown elements from outer space.

“I hate all the words” by Luca Scarabelli and Michele Lombardelli’s Untitled Noise, the eight instalments in the celebrated Die Schachtel’s “Decay music” series, is a concept album composed of three tracks designed to explore the remote and hidden depths of psyche: Misery, the awareness; The Time, the suspension of disbelief; and Heaven, the existential atonement through detachment.

The sounds and the voice proceed alternately, overlapping, where each, in its progression, asserts itself autonomously—entities unto themselves, presences in dialogue at the edge of possibility. At times primitive and obsessive, they emerge as reminiscences of the unconscious and emotions, which coincide with unconscious, altered, and unexpected lowness. Sound and voice in unison are a burst of a great energy. Noise-glitch sound patterns, distortions, and objects set into vibration in the "soundscape" are mainly performed by Michele Lombardelli. The lyrics, interpreted by Erica Bazzeghini, were written by Luca Scarabelli, drawing inspiration from a personal experience as well as his art. In Luca’s reflection, “I hate all the words” is a path to test the truth, the mistery and the meaning of words.

“Self-reflection has been an intimate journey, often conducted in the seclusion, away from the chaos of external reality. In the lyrics it is mirrored in three distinct stages: self-awareness marked by Misery, the suspension of disbelief symbolized by the passage of Time, a moment of misgiving, and finally, recovery through detachment, in the track Heaven. In my thoughts, I see the works of poets like T.S. Eliot, Georg Trakl, and Sylvia Plath, who explored personal pain and transformation. In “I hate all the words” resonate the mysterious meaning of words as well as the poetry hidden in them. In Eliot's poem "The Waste Land," he writes: "This music crept by me upon the waters" quoting “The Tempest” by Shakespeare, encapsulating melancholy and a sense of being lulled over one's own ruins.

In Georg Trakl's poem "De Profundis," he captures this sense of apprehension through his vivid imagery: "Es ist die Seele ein Fremdes auf Erden. / An Abenden, wenn die Glocke im Dorfe / Langsam der Frieden uns kündet, / Folgt uns die schwarze Verwesung. ("The soul is a stranger on Earth. / In the evenings, when the bell in the village / Slowly announces peace to us, / The black decay follows us.").The exploration of time's fluidity creates a mental space to be explored, much like the soul existing as a stranger on earth. In Sylvia Plath's poem "Mirror," she writes: "Faces and darkness separate us over and over." The mirror doesn't reflect the self, but the lament of words.

In “I hate all the words” all the “colours” have become dull. Fragments of thoughts and a sonic exploration change the perception of the present reality, evoking the ghosts of the past, in a shattered time, with the weight of whispered words.

You've Come a Long Way, Baby ist das zweite Album von Fatboy Slim. Es wurde am 19. Oktober 1998 im Vereinigten Königreich bei Skint Record und einen Tag später in den Vereinigten Staaten bei Astralwerks veröffentlicht.

You've Come a Long Way, Baby erwies sich als Cooks weltweiter Durchbruch und erreichte Platz 1 der UK-Albumcharts und Platz 34 der US Billboard 200. Von den Kritikern für seinen Sound und Stil gelobt, brachte das Album Cook internationale Aufmerksamkeit ein und verschaffte ihm 1999 einen Brit Award. Später wurde es von der BPI mit viermal Platin und von der RIAA mit Platin ausgezeichnet. Aus dem Album wurden vier Singles veröffentlicht: "The Rockafeller Skank", "Gangster Trippin", "Praise You" und "Right Here Right Now", die alle in den Top Ten der UK Singles Chart landeten. "Build It Up -
Tear It Down" wurde auch als Promo-Single veröffentlicht.

Das Album wurde jetzt mit halber Geschwindigkeit in der bestmöglichen Audioqualität neu gemastert.

"Chewing The Fat" marks a new chapter for Franc Moody.

This album delves into the duo's creative depths, breaking away from traditional norms and

showcasing a more refined sound than their earlier work.

Partially recorded at LA 64 Sounds Studio and Damon Albarn’s Studio 13 in West London,

the album’s sonic landscape is significantly shaped by Albarn’s collection of synthesizers,

especially some Russian models.

Drawing inspiration from live performances by Massive Attack and LCD Soundsystem,

the result is a sound that leans less toward disco,

embracing a grungier, more gritty attitude.

Limited edition - 250 copies

Coming from the vaults of one of the label heads 'Golden Ivy'. This single presents a full circle, baleo-industrial experience that makes its mark as a firm revisit to the label after some time spent being harbored by other imprints.

The foundation upon which this release stands originally stems from a sample from the mindfulness record ’Sinnenas dans” by the renowned Scanian folk musician and multi-instrumentalist Ale Möller. With its re-illumination graciously blessed by the original creator, it quickly transcends into flute-laden fourth world grandeur, underpinned by synthesized meanderings and industrial motorik. Flip the record for the version, and you’ll find label friend and artist Philipp Otterbach taking us on a post-punk dub jaunt of sorts, carefully decorated with his signature of deep and enigmatic sounds—often both sculptural and contrasting.

This record serves as a reflection of the label’s long-standing affinity for subtle rhythmicism and is well suited for mindful low-tempo dances in the many years ahead.

Los Angeles’ Jarren returns to Apron Records with a 6 track offering of fresh selections for the autumn.
Following his Apron debut LP, Jarren returns with a new EP titled Fresco that continues to explore his love for analog synths & squelching bass lines.

Los Angeles’ Jarren returns to Apron Records with a 6 track offering of fresh selections for the autumn.

Following his Apron debut LP, Jarren returns with a new EP titled Fresco that continues to explore his love for analog synths & squelching bass lines.

The forthcoming release builds on his signature style with fresh ideas, offering listeners another unique experience reflecting his West Coast origins.

Jarren, an LA-based producer and DJ with Panamanian heritage, draws deeply from his rich musical roots. Growing up with a father who played saxophone, his early exposure to gospel and jazz has shaped his sound. Always in the studio, Jarren’s music reflects this blend of influences. He’s played at some of LA’s coolest spots for the last 10 years and toured overseas, sharing his laid-back dynamic energy with audiences everywhere.

OUT SOON ON RAWAX: RV-02 - TERMITEN (RICARDO VILLALOBOS) - NORDHORN (RE-ISSUE FROM 2002) VINYL ONLY!

RAWAX proudly presents the second release by Ricardo Villalobos on his own series!
This time we have the honor to release Ricardo under his Termiten Alias. "Nordhorn" came originally out on LINEAR in 2002. The release will be re-mastered and viny only - don't sleep!