Beats News

Second release of Nathan Melja on his own imprint Dream Real, this is not a Techno EP, this is not a Bass EP, this is simply a music record. Four tracks going from Ambient to Club music to a weird and slowed down rap by himself on the Eponymous title «Raindrops» Enjoy and much love to y'all.

Plevna (an alias of Horatiu Serbanescu, long-time contriver at Future Nuggets and co-founder of Steaua de Mare) presents its first full EP. After incubating for almost 2 years while extracting and forging gems in the south-east space-time anomalies, the untraceable sound of Plevna has reached the optimum balance between eighties delicate nostalgia and contemporary local oriental melody. Bouncing on the delightfully twisted 9/8 groove, this is a unique contact with a multiverse under meticulous construction, an excursion abundant in haunting tunes and unfamiliar melancholy.

MFM 019 will be an EP of works by Denis Mpunga and Paul K. Combining elements of traditional African music with experimental electronics, the Belgian/Congolese duo released only a handful of tracks, scattered across a few rare LP and cassette compilations that were put out in the mid eighties by obscure european labels . This release also includes a few previously unreleased songs that were found on the original master tapes

Cong Burn are a tight knit collective reaching from Salford to Glasgow via County Durham and Middlesborough. An initial series of DIY cassettes and limited CDRs found their way into sets from Ben UFO, Lee Gamble, Tasker, Bake and Mosca and earned plaudits from The Quietus and XLR8R. Their first 12 consists of unreleased material from Haddon, Howes and Perfume Advert (1080p, Opal Tapes, Where To Now) and a reworked L. Pearson track taken from his debut release (CBW003 L. Pearson Stone Circles). 2017 will see Cong Burn artists releasing music on Whities and UIQ as well as a performance at Freerotation.

When the derangement has reached the limitless limits. Like the sound of a light-beam reaching the immense gravitational waves of a black hole. Is there sound in nothingness This is your Outermost reality.

Vinyl Re-Release des DJ Food-Klassikers "A Recipe For Disaster" aus dem Jahr 1995! Kommt als 2LP+MP3! Für Electronic-, Downbeat- und Headz-Fans ein Klassiker aus den 90er Jahren!

A remastered version of Shenzhou on triple vinyl and double CD with the bonus album"The Samphire Tower.
Paul Cooper, Pitchfork: ""Shenzhou", aside from being the name of the Chinese manned-spaceflight vehicles, means "magic vessel", and I can't imagine a more apt description for Geir Jenssen's latest excursion into ambient deep listening. After following an Aphexian trajectory with his releases on Apollo, the ambient sublabel of Belgium's R&S, Records, Jenssen veered from the padded sci-fi-inspired techno of Microgravity and Patashnik with 1997's Substrata, a genre-defining exploration of drifting soundscapes. Substrata remains for many the album that perfectly expresses the serenity and intensity of Arctic wildernesses, a landscape Jenssen knows intimately, having spent much of his life in the Norwegian Arctic Circle.

In 2000, Jenssen nearly eclipsed the success of Substrata with Cirque, a frequently frosty submerging of excerpted conversations and found environmental sounds that rivals Wolfgang Voigt's Gas project in its rumbling, gauzy beauty. Jenssen again relies on found sound as source material for Shenzhou, but this time, the found sound is old vinyl recordings of the orchestral works of French Impressionist composer and ambient precursor, Claude Debussy. Jenssen lifts fragments of these scratched records in a similar manner as he did for Cirque's "Black Lamb Grey Falcon" and "Iberia Eterea".

The ten tracks (out of the dozen on the album) that follow this model all begin as a barely audible hum, like a small electrical transformer, out of which the dust-dappled loops of Debussy's woodwind, brass, and strings emerge, condense, and fade out into pink noise rustles. Unlike Steve Reich's phase pieces or Brian Eno's Discreet Music, though, Jenssen doesn't set his loops against each other to produce juxtapositions and piquant dissonance, he uses them to describe imagined terrain, at first glance monotonously flat and barren, but on concentration, replete with minute detailing. The overall effect of these pieces is a sense of immensity. The orchestral loops sound distant, abandoned in a vast wilderness, and strenuously battling against Arctic winds. Jenssen sets the listener down in this wilderness as an aloof observer, a witness to the music's futile struggles against entropic forces.

The two tracks not derived from Debussy share the same hypnotic aesthetic. The brief interlude "Bose-Einstein Condension" is a loop of piano chords lolloping in search of coherence, while "Gravity Assist" is a longer voyage into woofer-quaking low-frequency manipulation, bell-like drones, and contrails of subdued noise. I can't help but feel that these tracks fit awkwardly and break up the conceptual flow of the album. This, however, is a minor quibble given the power of this music. Shenzhou is unquestionably a magic vessel, but one that reveals its enchantment only to those who pay close attention."

One of the boldest new producers to broach the dub sphere in recent times, Jay Glass Dubs is subject of Dubs, a prime 'early years' survey of his work, compiled by Alessio Natalizia (Not Waving) for his Ecstatic label, and released quick at the heels of their ace TRAX set and Novoline album.
Written during what Dimitris Papadatos, aka Jay Glass Dubs, describes as 'an adventurous and bold period', and holding material variously issued by Hylé Tapes, THRHNDRDSVNTNN, and Seagrave between 2015-2016, the Dubs compilation frames a singular, stripped down take on classic dub forms, wherein Jay Glass Dubs perceptibly retains the sound's heavy function and mystic qualities, but subtly updates its palette with a range of nods to shoegaze, darkwave synth styles and weightless dynamics.
The results form a sort of ghostly, filleted subtraction of classic dub architecture, all plasmic tones and diaphanous, boneless structures buoyed by an often overwhelming, yet somehow intangible
bass presence. Beyond the obvious, thematic ligature that connects the material, which was all recorded within a very short period of time, the artist also suggests there is an underlying, encrypted similarity to the material which is 'merely apparent to me', and awaits much closer investigation from keen ears.
From Jay's eponymous 2015 debut for Hylé tapes, listeners will encounter the heaving smudge of Definition Dub, the serpentine, Coil-like digital delays of Grumpy Dub, and a grime drone drill Depression Dub. Off the II tape for THRHNDRDSVNTNN comes the darkwave synths and militant step of Magazine Dub recalling a gauzier Equiknoxx production, next to the bass-less scudder,
Detrimental Dub and the shoegazing bloom of Daria Dub, while his III tape tees up some abyssal highlights in the vertiginous Hilton Dub, the melancholy, Basic Channel-scoped scale of Sieben Dub, and the HTRK-eaque starkness of Everlasting Dub.
Exclusive to the set is Perfumed Dub, recorded in 2017 and pointing to vast, layered, atmospheric directions for a timeless project which is only just hitting its stride.

Klaus returns from a 2 and a half year hiatus from himself with just 11 minutes of music - that's an average of less than a second of music per day, which is frankly ridiculous. You might recognise the A side if you were there when ben UFO opened up for jamie the xx at brixton academy, the only confirmed occasion this tune has been played in public. Few are brave enough to do so as it is pretty murky.

'youve gone full heart of darkness eh' (morris 'da boss' kudos)

'lenna woke up when I played it, she cried but then grinned' (manchu)

We are really honoured to present a 12'' EP collaboration between the mexican band Ford Proco and the legendary UK electronic pioneers Peter Christopherson/John Balance aka Coil.
Ford Proco were formed in 1986 in Tijuana and they are considered the godfathers of the industrial electronic music in Mexico.

The story behind the recording of the two tracks is like a fairy tale.. apparentely the band members Robert Proco (sampler & synthesizers) and Wito Lavolt (bass, keyboards & drums) met Peter Christopherson in Los Angeles in the occasion of The Orb show back in the 90s and they exchanged phones & emails. Months later 'Sleazy' call and invited them as extras for Ice-T videos..

The tracks were composed following the method of the 'expansión naranja'; Peter Christopherson was adding sax, drums and effects, while John Balance provided his magnificient voice.

Both the tracks were originally recorded in Autumn 1999 and they are unreleased on vinyl. The tracks were directly transferred from the original DCC (Digital Compact Cassette) and remastered by the mighty Rude 66.

Cover artwork design by Alessandro Adriani, labels artwork design of sacred geometry logos by Maximiliano Lizárraga.

This three tracks Ep features an ambient, downtempo recording taken from Kicks Experimental Boat Edition event on Thursday, 8th of June 2017. In this special performance, alongside Dasha Redkina, the duo created textures and soundscapes in real time with as much gear as they could bring on board a boat riding Berlin's Spree.

Two swingeing, hypnotic excursions by the Brooklynite (aka Lichens). Ethereal and melancholic, Magnamite ponders 'the relationship of machine and human'; whilst the wilder pulsations of Heart Of Sogguth bear witness to a 'unified human machine wherein the voice becomes the rhythm — all become one instrument'.

A stand-out track from the Bleep:10 compilation released earlier this year, Untold's incredible 'That Horn Track' finally sees a 12" release.

After being premiered on Pearson Sound's excellent Resident Advisor mix, the track gained further play from Mary-Anne Hobbs, James Blake and Tessela on their respective BBC Radio shows and residencies.

If that was not enough, Berlin techno royalty Marcel Dettmann remixes the track for the flip side of the 12". Marcel transforms Untold's hectic original composition into a slow-building sublime exercise in dread-techno production and pummeling drums.

Press support from: Pitchfork, FACT, XLR8R, RA, Groove, Clash
DJ support from: Pearson Sound, James Blake, Mary Anne Hobbs, Tessela

21 shades of freak from the illuminati of lost sides, Light Sounds Dark.

The world outside resonants metallic. Its activity humming calm harmonics. I am in stasis. Liquified. Receiving alien signals. Unseen universes translated into sound. Notes bend like light reflected in a curved, hard surface. Sine waves as my sinews stretch.
.
Muscles form and tie. Limbs from this soup. Pain is not the word for it. This flux. I am detached from my body. I listen to it bubble and evolve. Guessing at my shape. Serene. Yet I grow impatient. Anxious to be free as the world vibrates. I have my life to be getting on with after all. How long have I been in here What will I find when I emerge Celebrations Or stamped on like a roach Will I be wonderful with colour and wingspan Dancing for a mate. I wonder as I wait and change. Change and wait. Would I be content on a diet of dirt It goes like this. My thoughts in circles. Dream chasing worry. Worry chasing dream. Waiting to be reborn. Maybe I`ll soar. Riding warm swells on Summer days. Or will I dwell in the dark No use for eyes. Only smell. Tasting the air for a sense of direction. Will I find myself one of a hive Or will I remain alone Expanding to crack this shell. Forcing myself out into the sun. Everything rings different in the light. I am slow in the warmth. A breeze drying my soft skin. Transforming it. Tempering it to steel. Polishing it until it shines. You can see your face in it. But I can`t see mine. Still left to suppose the presence I present. Old friends won`t recognise me. And I won`t recognise them. Remixed, remodelled, restructured. Bold explorers discovering purpose anew. Before all I did was eat. First steps I stumble. Unsure of how many legs I`ve got. The Sun seems to sing her reassurance. Her welcome. My joints clank and rattle. Like those of a machine. I move stiff and robotic, but swiftly now. Here comes the rain. Heaven cracks back to throw its shower against my armour and I feel invincible, immortal. Impenetrable in the private fortress of this exoskeleton. Shrugging off a god`s tears. Blood races. Oxygen pumps. What passes for a heart, this heart, is strong.

300 10" Pink Marble, hand stamped, individually numbered records, single press only.

For us (Rubadub that is), Hank Jackson has been behind some of the most inventive techno to have left NYC in recent years, releasing music on his compadre Anthony Naples label, Proibito and Mister Saturday Night. If you're after a twisted NYC take on classic Chain Reaction and Monolake, then this is strongly tipped.

The sound is short and dry, like a fist colliding with leather or other flesh, but the repetition and reverberation transcend such violence and lead the listener to a heightened state by the time the parade is cancelled. A point of consideration. Stick around because at least a few folks will still march and it could be a gorgeously lonely thing to witness...
This Make Noise Records release was Digitally Mastered by Shawn Hatfield at Audible Oddities
Analog Mastered and Cut by DC at PLUSH/
Pressed to 12" Clear (140gm) vinyl and inserted into a black inner dust sleeve and Matte Jacket w/ photography by Moe Espinosa and layout by Sean Curtis Patrick..

* Concept and composition by Ryoji Ikeda
* Co-produced by Eklekto Geneva Percussion Center, Ryoji Ikeda Studio and La Bâtie Festival de Genève.
* Percussionists (Eklekto): Alexandre Babel, Stéphane Garin, Lucas Genas and Dorian Fretto
Ryoji Ikeda
Japan's leading electronic composer and visual artist Ryoji Ikeda focuses on the essential characteristics of sound itself and that of visuals as light by means of both mathematical precision and mathematical aesthetics. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media. He elaborately orchestrates sound, visuals, materials, physical phenomena and mathematical notions into immersive live performances and installations.
Eklekto
Eklekto is a contemporary percussion collective founded in 1974 in Geneva. Constantly seeking to reinvent percussion music, the group collaborates with living composers and contemporary artists through concerts, multimedia projects and artistic events that question the listener's expectations towards new musical forms. Eklekto has premiered over 100 new works and performed hundreds of internationally acclaimed shows.
TRACK LISTING

All tracks on this record have been selected from the cassette series Oscar's X-mas Carols, originally released on Christmas Day 1984, 1985 and 1987 by Oscar Smit's imprint Noel Tapes in Holland. Edition of 400 copies. Laminated translucent sleeve, hand stamped (12'x12'). Complete with dossier including liner notes by Oscar Smit, band bios, photos and download code !
.
The story behind X-mas Card From Outer Space' by Oscar Smit himself:

I've had a thing for Christmas music ever since I heard Phil Spector's Christmas Album in the late 1970s. Through the years I've become a massive collector of every genre of Christmas songs. Each year, I can't wait for December, when I can play Christmas music again.

In the 1980s I worked for Vinyl, a Dutch monthly magazine. A lot of music at that time was released on cassettes. A significant number of cassettes were sent to Vinyl, from both the Netherlands and abroad, so many in fact that I began writing a separate column, Dolby, to discuss them. For some years, my Dolby page was a meeting place for fans of cassette music. In addition to Christmas music, I was also a big fan of experimental sounds, and I soon noticed that very little electronic Christmas music was being produced. That's when I got the idea of creating a cassette myself, featuring adventurous and original Christmas numbers. I was in contact with a lot of musicians because of my work at Vinyl, and I invited a large number of them to record a holiday number especially for my Christmas cassette. The production and distribution were in the hands of Ed and Ignit from the Ding Dong label. The first edition of Oscar's X-Mas Carols was released shortly before Christmas 1984, on my own Noel label. I never received any payment or sales figures from Ding Dong, so I have no idea how many copies of that first edition were sold. That's one of the reasons why in 1985 I decided to take on the distribution myself. Plus, I'd just gotten hold of a rubber stamp that was suitable for stamping serial numbers. That gave me the idea of producing a limited-edition, numbered cassette. I'd package the cassette attached to a picture frame containing a beautiful black-and-white photo of my sister's hand, holding some of my parent's Christmas ornaments. My friend Theo Kamphuis not only took the picture, he also had to develop it 350 times, because that was the edition's print run. We spent two evenings assembling the 350 packages, each containing a framed photograph plus a cassette. The artistic-looking result disguised the fact that the project was a financial catastrophe. I barely recouped half of the 4000 guilders in production costs. I had well and truly learned my lesson and decided to stop producing cassettes. However, in 1987 I started to get the itch again, so I invited a large group of international and Dutch artists to send me numbers for my third Christmas cassette. This time, to cut costs, I did everything except the cover design on my own. The cover was mimeographed, and I reproduced the cassettes myself. And so, Is That You Santa Claus was created, in a limited and numbered edition of 100, made for approximately one-tenth of the production costs of its forerunner.

In 1988 I got a full-time job and had little time for my Christmas label. Subsequently, cassettes lost more and more ground to the encroaching CD format. A fourth cassette would therefore never materialize! It wasn't until 2010 that Oscar's X-mas Carols volume 4 would be released, in the form of a CD entitled Christmas Cover Up. The songs on that CD were covers of not-so-well-known Christmas numbers, performed by such artists as Hunter Complex, Jaap Boots, Eddy de Clercq, and Kaat Hellings. The music, however, was much less experimental than on the cassettes.

Now, in 2017, there's a vinyl version of Oscar's X-mas Carols. For this album's tracklist, its compilers Jordi Serrano and Oscar Smit made a personal selection from the three previous cassettes. In this, they were unfortunately hindered by the limited playing time available on a long-playing record. Of the fifteen tracks on this LP, seven come from the Netherlands. I've remained in contact with many of the original artists and was able to track down the rest on Facebook. Welcome to the digital era. I wish you much listening pleasure with these tracks from the previous, analog century!

Merry X-Mas
Oscar Smit (Music journalist / DJ)

'Y.O.U' is an emotive album of tripped out ambient hip hop instrumentals by FROM, written and recorded in the mid 90s under Trevor Jackson's infamous production persona The Underdog. Originally planned as a vocally-led, song-based project that should've surfaced between his production for The Brotherhood's legendary British hip hop album 'Elementalz' in 1996 and his acclaimed debut PLAYGROUP release in 2001, for multiple reasons it hasn't seen the light of day, until now.
Only Available as a ultra limited edition Vinyl and CD release, the LP consists of 11 tracks. Dream-like synth lines, ambient melodies, blissful guitars, raw beats and soft, fractured vocals draw you into a hallucinatory 12bit world. Drawing on Jackson's progressive and jazz rock influences as well as psychedelia and early electronics, the album closes with 'Belladonna'- a piano-sampled homage to the east coast golden age hip hop pioneers. NB: The CD features a longer version of 'Veratrum' not available on the vinyl version. All created on an Akai S950 mono sampler (limited to only 20 seconds sampling time), an Akai MG1212 12 channel mixer (which recorded on Betamax style tapes) and primitive outboard gear, Jackson honed his skills from his bedroom, where he produced the majority of his output at the time. With a huge collection of obscure vinyl, he dug deep into uncharted territories for samples and sound clips
- using material no one knew about (or would think about touching) in the mid 90s. The Underdog's initial releases were on Jackson's own Bite It! recordings label, which was started in 1991. A unique platform for UK hip hop with a visual aesthetic and ethos more akin to ECM and Factory
than other rap labels, its mission was to push artists beyond musical and cultural limitations prevalent at the time.
Home to artists like The Brotherhood, Scientists of Sound, Little Pauly Ryan and Lewis Parker (who later signed to Massive Attack's Melancholic label), Bite It! became a great success;
finally British rap had artists and releases that looked and sounded as good as their revered American counterparts. In 1993 Richard Russell (who had just started running XL recordings) asked Trevor to remix House of Pain, resulting in a top ten record, which helped launch Jackson's musical career via further remixes Massive Attack, Run DMC, U2, The Cure and countless others. Off the back of his remix success, The Brotherhood signed a deal in 1994 with Virgin Records. Their 'ELEMENTALZ' album was produced by Jackson and is still lauded by many as one of the finest British hip hop albums of all time.
Jackson continued to remix and produce as The Underdog until managerial issues forced him out of the project he'd been instrumental in instigating.
Soon after his close friend and manager tragically passed away - which when combined with the UK hip hop scene becoming increasingly volatile and the moral demise of rap culture in general - convinced Trevor to hang up his hip hop hat for good.
After leaving The Brotherhood he started Output Recordings. Internationally and sonically diverse, it gave Jackson a free reign to do as he pleased, with genre twisting releases from the likes of Fridge, Four Tet, Sonovac, Colder, his own PLAYGROUP project, The Rapture and LCD Soundsystem. With a non-compromising attitude, strong DIY aesthetic and consistently groundbreaking releases across its ten year life between 1996 and 2006, it became one of the most important and respected independent labels in the world.

Canoe 004, Nyra is back wearing nothing but swimming trunks, don't paddle about, jump and shout.

* Back with the heat, Chicago native DJ Jana Rush kicks off Objects Limited's 2017 with her debut album 'Pariah'. Jana Rush received attention for her mind-bending drum acrobatics on last year's 'MPC 7635' EP also released by Objects Ltd. Jana started djing aged just 13, releasing her first record on Dance Mania back in 1996 but having a hiatus from music between 2000 to 2013. With 'Pariah' she has created an album rooted in Chicago's footwork sound, but with a myriad of influences, such as jungle, acid, soul, jazz and house, developing her sound on from 'MPC 7635'. By popular demand from a kickstarter, now on vinyl!


* We kick off with 'Midline Shift' whose breathy, clipped erotic vocals intertwine with a pulsing bass and dry 808 rims creating a shimmering robotic effect. Moving on, the frantic 'Beat Maze' confuses the mind with white noise rushes and interlocking snares. Changing the scene, 'Divine' is sweetly soporific and charming, a beautiful, almost eerie track. The pace picks right back up with ' ', whose warbling jazz clarinets cut into a juke bounce. The stripped back beats of 'Break It' give one room to breathe before the croaking bass and distorted acid of 'No Fuks Given'. 'Old Skool' is exactly what you'd expect, its sample syncopated around a feverish rhythm throughout. Both 'Rapid Fire' and 'Acid Tech 2' are bangers, hitting you deep in that sweet spot. Jana brings it back down with 'CPU''s computer noises and sub bass hits. 'Chill Mode' gives time for reflection after all that fire, but its no ambient track, theres still that Chi-Town vibe. We finish with 'Frenetic Snare' whose Amen breaks will have Brits thinking of jungle, but it's a different beast altogether.

Superb compilation of unrealesed tunes... Pure worldwide electro masterpiece !

Aus großen Melodien und strapazierfähigen elektronischen Teppichen gestrickt, ist "Love What Survives" gewissermaßen die Essenz ihres bisherigen Schaffens, indem verschiedene Gesangsgäste und Musikerpersönlichkeiten (James Blake, Micachu, King Krule) hinzukommen, um gemeinsam zu experimentieren, Formen neu zu denken, Dinge auszuradieren, mit Pop-Überlieferungen zu spielen, alles zusammen wachsen zu lassen. Die neuen Tracks enstanden größtenteils auf zwei Vintage-Synthesizern (Korg MS-20, Korg Delta), die beide, so die Band, diese "punkige, schloddrige Qualität hätten, die an Robert Wyatt erinnert", die mit ihrem Industrial-Einschlag und dem unverkennbar direkten Sound Mount Kimbie zu ihrem neuesten Sound-Update bewegen sollten. Der pulsierende Motorik-Beat der Single "Blue Train Lines" zum Beispiel schickt King Krule direkt auf die Überholspur, von wo aus er seine zerklüfteten Vokalsalven abgeben kann. Die offene, ausladende Aura der Platte ist ferner der Tatsache geschuldet, dass sie zwischen London und Los Angeles entstanden ist, zwei Standorten, zwischen denen das Duo pendelte, um gemeinsame Sessions zu veranstalten und Ideen zu verfeinern.

Trees Speak is an experimental rock band that transcend mainstream influences by incorporating elements of Avant-garde, Neo-psychedelic, Minimalism, art and electronic - along with violin-bowed guitar, Theremin and a glut of effects pedals, and it's an ear-bending rush of lush soundscapes.

Trees Speak - as much a sound laboratory as a rock and roll band - is the musical venture of acclaimed visual artist and musician Daniel Martin Diaz (formerly of Blind Divine and Crystal Radio). For the debut double-LP Trees Speak is joined by Michael Glidewell (Black Sun Ensemble), Gabriel Sullivan (XIXA, Giant Sand), Connor Gallaher (Myrrors & Cobra Family Picnic), Damian Diaz (Human Error), and Julius Schlosburg (Jeron White Acoustic Trio). The studio itself should also take top billing, because in the tradition of krautrockers Can and Bitches Brew-era Miles Davis, the band takes its winding, incandescent motoric rock and roll improvisations and edits them into coherent compositions using the mixing desk after recording. And that's where the sound lab half of the equation appears. The end result is flowing and droning ambient proto-punk reminiscent of fellow travelers NEU!, Stereolab, - Joshua Levine

Our intention is to create music with an unrehearsed minimalist approach performing simple beats, riffs, and sequences that take one inward. We attempt to create a sonic environment to set one's mind free and to become aware of the nuances of tone, melody, and structure. We organize our recording equipment with the same approach, in a transparent manner. Our recorded performances are never rehearsed. Our belief is that a brilliant rehearsal is a lost opportunity to capture a magical moment. We are chasing the mystery of music and tone. We let the musical performance sculpt its own destiny and create imperfect perfection. Our tool of creation is the anxiety one feels when they are unrehearsed or prepared for a performance. We believe this approach brings us closer to the authentic self. The result is genuine music without an agenda that captures the unfiltered spirit.
- Trees Speak


The music was recorded live in one room with no overdubs or repairs, only using edits to create arrangements. All tracks were written over a 5 day period at Sacred Machine Studio and Dust & Stone Studio.

Emotional Rescue and Malka Tuti join forces to bring a collection of the music of C Cat Trance. Drawing on the rhythms and melodies of Africa and the Middle East to produce a World Beat across some 6 EP and 4 LPs, here drawn together on a special double LP compilation.

From the legendary Shake The Mind to the percussive, ethnic meets club inspired songs like Sudaniyya or the previously unreleased Some Day Soon, the album highlights a project that stood out from the post-punk haze with striking scales and time signatures to develop a unique sound.

Formed by world music fan and multi-instrumentalist John Rees Lewis upon leaving post post-funk pioneers Medium Medium, the group retained the intensity of the former, but in a considerable new direction. Teaming up with fellow ex-band member Nigel Kingston Stone, together they formed the backbone of the band around a continual stream of guest players.

Exotic, dense, tribal rhythms propel a mixture of club, pop and world music, creating an atmospheric fusion that can be heard across the 12 pieces. The alt-industrial feel of She Steals Cars and Screaming With You is countered by avant-percussive Dalbouka and I Looked At You or the Balearic vibes of Take Me To The Beach and They Made Them Up.

Together they perfectly showcase a dark and moody world music with a shamanic spiritual underbelly that has gained admirers from collectors and latter-day producers. With that a set re-edits, remixes and reversions from latter day heads including Red Axes, Prins Thomas, JD Twitch, Khidja, Die Orangen, Jamie Paton and more will follow.

This journey started for Flox on the Reunion island, in the lost heights of the Mafate cirque.
It is in this area cut of from the world, only accessible by foot, that the English multi-instrumentalist found himself face to face with the thrilling and endless feeling of being lost and in danger once again. A sensation that had faded away through time, weakening the flickering flame of inspiration.
Listening only to his instincts, leaving aside past experiences and moving forward freely are the main ingredients of this sixth album Taste Of Grey. An album conditioned by inspiration, each song catching the feeling of the moment and releasing unblemished
emotions. At ease with the different lines of artistic creation, the multi-talented craftsman once again composed, arranged, played, and recorded Taste Of Grey, a complex mix of organic and digital music balanced between deep Jamaican rhythms and loose funky beats.
Breaking down styles to build his own, spending hours reinventing a personal electro vibe that moves back and forth from rap to singing and from darker to lighter landscapes.
Rather than the simple choice of black or white, Flox has chosen a path with more subtle shades of grey. A step into the unknown, writing love songs when political issues had mainly been a major theme. Writing about feelings, unclenching fists to come up with an album that tells a full story. You could listen to the album Taste Of Grey in random but this would also change the story line...

Prince of Grunge - Explores conflicting truths and accounts of depressions, social anxiety and fear in the name of progress. Moving through cold landscapes with vocal of Until I Die' & I am lost' on a undercurrent of rave.Prince of Grunge is a visceral and unsettling tour through a missed youth.

First outing for this collaborative effort from the prolific Posh Isolation mainstay Loke Rahbek and Frederik Valentin of KYO, also on the revered Danish label. As old friends circling around the same scene this is the first time they have combined their respective perspectives. The results are an ambitious aquatic infused audio environment. Recorded near water at Valentin's studio within the vicinity of the new aquarium in Copenhagen, Buy Corals Online channels the sensual floating aspects of such environments.

"During Japan's Edo period (1615-1868) the phrase "the floating world" (ukiyo) evoked an imagined universe of wit, stylishness, and extravagance—with overtones of naughtiness, hedonism, and transgression. Implicit was a contrast to the humdrum of everyday obligation. The concept of the floating world began in the Japanese heartland, migrated eastward, and came to full flower in Edo (present-day Tokyo), where its main venues were popular Kabuki theaters and red-light districts." - Wikipedia

Buy Corals Online arrives as a suite of works embracing the joy of being close to something you don't require interaction in order to experience. This enchanting aquatic infused audio hovers a sensual world rich in sensory experience. Loke Rahbek & Frederik Valentin's debut outing conjurer's a world both sensual and abstract as it moves casually alongside fantasy.

UnknownmiX was a band active in Zürich between 1983 and 1992. Their music is a mixture of free vocalism, new wave and industrial, they released five LPs and three EPs. Out of their discography Lux Rec selected four tracks, remastered from the original tapes, and presented as a sampler EP. Four tracks that fit perfectly to the label's tonal view. An ode to those Zürich days, when excesses and uncompromising choices were a badge of honour. And music was something to fight for, or fight with, or dive in and die.

Alek Stark is responsible for some of the finest boutique vinyl releases available. His 808 boxes, DMX drum machine replica and plexi-glass sleeves for Fundamental Records are legendary in the electro fraternity.

Stark's attention to detail in everything he does is particularly apparent in his music - his tracks are all first class analogue electro. He pulls no punches on this E.P. with heavy 808 percussion alongside a myriad of modular noise and synth workouts.

Cold, robotic and reminiscent of early Psyche / BFC with deep chorused pads creating an off-world dystopian theme that runs throughout this release.

Alésia Cosmos was a collective of musicians led by Bruno de Chénerilles formed in the early 1980s in Strasbourg, France. The group consisted of Pascal Holtzer (guitar, synthesizer, tapes, drum machine, vocals), Pierre Clavreux (vocals, gong), Marie-Berthe Servier (vocals), Bruno (guitar, tapes, synthesizer, drum machine, vocals) and Tunisian percussionist Lotfi Ben Ayed (darbukas, bendir). In 1981 Bruno composed and wrote some sci-fi radio plays for French state radio channel France Culture. Under the influences of William Burroughs, John Cage, Pierre Henry and others, he developed tape music studio work. By 1982 he appeared for the first time under the name Alésia Cosmos Furi Show. It was a solo performance on guitar, voice, analog synth and tapes. This experimental show lead to a music project based on Bruno and Pascal's compositions to be performed and recorded with other musicians in the beginning of 1983.

Exclusivo! was the group's debut album recorded and self-released in 1983 on Planetarium. Pascal and Bruno would compose tunes in their personal home studios. Then they would bring the tapes, electronics, guitar lines and lyrics to experiment and rehearse with the other members of the group. Improvisations and adaptations brought more ideas and the album was recorded in a few days. The result was a musical mixing of electronic music, field recordings, North African and Asian percussion, electric guitars and voices, compositions and free improvisations. All four musicians take turns singing onomatopoeic phrases and backing vocals, even sometimes in an unknown language, a sort of mixed bag between Breton and Japanese. All songs have been remastered cut by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a replica of the 1983 cover and includes a 6-page insert with photos, lyrics, reviews and liner notes by Bruno de Chénerilles.

From the sounds of Dominowe in Newlands East in Durban, South Africa, we are now going to the opposite side of the hill in Newlands West with TLC Fam! For those who are not familiar to the crew, TLC Fam are a crew from the township of Newlands West formed by 23 members. All the members have different roles in the crew and showcase different talents such as DJ'ing, Producing, Dancing, MCing, Promoting and taxi businesses. TLC fam was established in 2011 as a dance group until 2014 where they met distribution boys " they helps us with gqom tracks production since we were dancing with their gqom music." Dj Magic and Resto tried to learn to make their own TLC gqom in 2014 until now as TLC gqom hosts. Their sounds represents a strong, powerful Zulu culture from the sounds, lyrics of the songs to the song titles as well. The main producers Resto and Dj Magic created a very unique and original style of gqom, the strength of TLC is being as a real family where everybody help each others. TLC fam gqom is loud and powerful it can break your speakers which is why they play this out to packed dance floors till the early morning. TLC fam are the originator/creator of the Taxi Kick' style of Gqom which has a very particular distorted multi layered hard kick made with some specific techniques on fruity loops. The kick is made specifically for taxis in the townships and quickly became viral with the new generation of gqom and core tribe producers in Durban. "Our Gqom is so different from others cause we got our personal style where we put more vocals in our tracks and we got our own kicks (Taxi kick) and our own type of gqom where we came with hard kicks which you can play them in taxis and big speakers ". "We were just making music just for fun and fan cause here in Durban they didn't take gqom music as real music but now we saw lot of changes in the local scene" " What we need now is too see gqom music pay world wide and we need to be well known in other countries as we are the one of the gqom kings in South Africa" As usual here at Gqom Oh! we're super proud to put out this psychedelic hardcore gqom LP called Isbethelo seGqom which in Zulu means 'The Gqom hit'. It will be released a in a very special limited edition 12' in collaboration with HB production with special 3D graphic designs on the cover which you can check out with the glasses we have provided in each vinyl.

Tranceonic is the duo of Carlos Perón and Boris Blank of Yello who met in 1971 in their hometown of Zürich, Switzerland. At this time Carlos studied Free Jazz while Boris listened to bands like Pink Floyd and Queen. The two bonded over a conversation about The Mahavishnu Orchestra album 'The Inner Mounting Flame' and became musical friends. From 1973 to 1976 they played in the New Wave group Urland. After the split of the group Perón founded the Tranceonic studio with his equipment in his private flat. Carlos invited Boris over to his studio and a concentrated work began. The idea was to make experimental new music with the hopes of having a hit in the United States. Everybody at this time was into punk, but Tranceonic loved industrial and electronic sounds. Their foresight and innovation created new ideas. Perón and Blank made electronic avant-garde music informed by the Berlin and Cologne schools. By 1978 the two had enough material to record an album and made a trip to San Francisco to visit Ralph Records. The Residents promised to release the music if the duo removed all the tape hiss, which never materialized.

'New Crime' is the first ever vinyl compilation of material produced, recorded, performed and mixed at Tranceonic Studio between 1976-1979. The equipment set up at the studio included a Farfisa Synth Orchestra, WERSI string ensemble, ARP Odyssey with Sequencer, ARP Quadra, Roland SH 3A, CR-78, Space Echo and Korg Minipops 120P and many effect boxes normally used for guitars. Samples were self-recorded using a Revox cassette deck and turntables. Blank and Perón experimented with manipulated tape loops, echo effects and snippets of found sounds. Blank also explored foreign near-equator exotics playing Arabesque percussion and a homemade bamboo flute. Perón experimented with CV triggering and dubbing super 8 film effects from vinyl. Both members took turns singing Carlos' lyrics. Stylistically the songs anticipate the feeling of Yello's 'Solid Pleasure' album and included here is the first instrumental mix of Bostich'. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. Cover artwork features a photo of Carlos in Los Angeles taken by Boris in 1978 and design by Maycec. Each copy includes an insert featuring photos and liner notes by Carlos Perón.

Pressing of 400 on vinyl only

The first of two wonderful LPs for the tail end of November on Polytechnic Youth, this one sees a debut for the label from Alexandre Bazin.

Alexandre is a composer and a current member of GRM, based in Paris, France. He holds a master's degree in electronic music and composition from Conservatory in Bordeaux, France. His work considers 'the sonic experience' drawing on a rich mix of acoustic instrumentation and analogue synthesis along the way. As an experimentalist music researcher, Bazin's compositional projects are primarily concerned with a very personal seal on a music with emotional power. With Sun Dog Trail', Alex merged several inspirations, Firstly, the influence of experimental electronic music, and more specifically a tribute to Bernard Parmegiani. Secondly, the influence of the blues with musicians like John Lee Hooker and Muddy Waters, (English drummer Tim Wellers (The Divine Comedy) guests on drums here).

The end result is the Sun Dog Trail', an experience that combines Bazin's usual musical fusions with experimental and blues forms, taking the listener on multiple adventurous journeys. For this album Alex used rarer instruments such as an EMS VCS3 synth, Buchla musical easel, Minimoog, and Cristal Baschet.

The LP's sleeve saw an ambitious attempt to use Franco Grignani's beautiful 1966 graphic masterpiece "Fenomeno Plastico-Chiaroscurale" as its centrepiece, and to all parties' delight, Franco's daughter Manuella willingly agreed to its use and is incorporated into a design by longterm PY ally Nick Taylor.

Like all PY releases this is expected to fly. Also like all PY output it is priced at a hugely attractive £5 per copy wholesale!