Beats News

Instrumental Thursdays:
i&i Musik and Wahever Records present an album of quirky and eclectic instrumentals written and produced by Archiver and Matteo Boyero. It was recorded over the last two years during regular Thursday sessions at Matteo's studio in Homerton. The album draws inspiration from the diversity of musical genres and cultures present in London, crossing borders and genres, spanning Dub, African, Electronic, International, Hip Hop, House, Tropical, Techno and everything in-between. The sunny artwork made by Risa, captures the vibe of Instrumental Thursdays, and gives an idea of the wide variety of instruments and effects used throughout, from drum machine to steel drum, saxophone to synthesiser, passing through reel-to-reel tape, springs and delays.

About the artwork:
I wanted to create a sleeve that reflected the album, it's sounds and the Thursday sessions that created it. I hung out in the studio with them, did some drawings, took some photographs and used these as a starting point. To me, the album sounds a bit tropical, with some cosmic vibes, slightly twisted samples, hints of Hip Hop, Techno, Dub and some African influences chucked in for good measure. The studio and recording process was all very 'organic', with many of the parts being recorded in live so I kept the drawings spontaneous and fun and used positive, vibrant colours. During the creation of this album, Matteo and Archiver both adopted cats who equally seem to enjoy hanging out in the studio, so we decided to stick them on the cover too! - Risa,

About i&I Musik:
i&i Musik is an independent, London based record label, setup and run by Archiver. The label features Archiver's own productions and also showcases both up and coming and well established artists. The label mixes genres, taking influence from Archiver's eclectic musical taste and his own vast record collection. i&i Musik represents many different styles of music, particularly those with an emphasis on bass. The label's debut release Pusherman, features Jamaican Reggae veteran Mike Brooks with a vocal and dub cut. On the flip side, Good Morning (co-produced with Matteo Boyero) features the uplifting voice of fellow Jamaican Wallace Adalphus, who brings his positively infectious vibe to the table. Released as a 10" with hand stamped vinyl and a limited edition linocut artwork by Risa. 2017 brings the release of i&i Musik's first co-produced album alongside some more interesting projects in the pipeline.

About Wahever Records:
Wahever Records is an independent record label Based in London. Started in July 2015 by producer Matteo Boyero with the help of graphic designer Adam Zelig and Basile Carel. Trying to keep the musical spectrum as wide and adventurous as possible, London is the melting pot of cultures that gives inspiration to the music. From Nepal to Burkina Faso passing by Jamaica without moving from Homerton, Wahever Records is slowly trying to create a friendly community of artists from all over the world and from all musical backgrounds living in London. Over the last year the label has expanded with new people and is working on a series of new projects favouring quality over quantity.

Nocturnal Emissions has been one of the best kept secrets of the industrial genre since the 1970s.
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Led by Nigel Ayers, the band was one of the first to use tape cutting, avant-garde art, and underground video works to create a stage experience that was being cultivated by like-mindedartists like Throbbing Gristle and Cabaret Voltaire.
The band moved on to using samplers and electronic noise in their early 80's work, creating a twisted funk sound that would go on to influence everyone from Foetus to Negativland. They still utilized their former tricks, upping the ante with extremist performance art and more professional video displays. The group avoided signing to a major label, instead focusing on releasing their own music more effectively. They followed this path into the 90's when they started earthlydelights, an incredibly detailed website that promotes their various ideologies (they are strongly against the British monarchy and believe that citizens should have unlimited access to space travel) and constant release schedule. The band has released countless tapes and CDs of their material, and continues to unleash their noise through their website.

Grammygewinner RAC veröffentlicht sein lang erwartetes neues Album auf Counter Records!

Aufgenommen in Anjos Heimstudio in Portland und bei Sessions in L.A., finden sich auf RACs neuem Album Kollaborationen mit u.a. Rivers Cuomo von Weezer, Vampire Weekends Rostam, MNDR, ST. Lucia, KNA und Joywave. "EGO" ist Anjos ambitioniertestes, geschlossenstes und persönlichstes Werk und zeigt deutlich seine organische Weiterentwicklung als Künstler auf. Geboren und aufgewachsen in Portugal, lernte Anjos in seiner Jugend Klavier und Gitarre und spielte in lokalen Bands. Später zog er in die USA, um Musikbusiness am Greenville College in Illinois zu studieren, bevor er sich in Portland, Oregon, niederließ. Anjos gründete RAC im Schlafzimmer seines Studentenwohnheims und gewann fortan ein stetig wachsendes Publikum für sich, woraus wiederum offizielle Remix-Aufträge für u.a. Lana del Rey, Yeah Yeah Yeahs, Ellie Goulding, Foster The People, Phoenix, Imagine Dragons, Two Door Cinema Club und The Shins resultierten. Seine erste Grammy-Nominierung erhielt Anjos schon 2016 für seinen Remix von ODESZAs "Say My Name", und bei der diesjährigen Verleihung gewann er mit seinem Remix für Bob Moses' "Tearing Me Up".

Mit seinem ersten Song, "Hollywood", begann RAC 2012 eigenes Material zu veröffentlichen und unterstrich mit seinem Debütalbum "Strangers" von 2014 seine Qualitäten als Songwriter. Darauf enthalten waren die Singles "Let Go" mit Kele von Bloc Party und MNDR sowie "Cheap Sunglasses" mit Matthew Koma. Außerdem absolvierte er bereits gefeierte Auftritte auf den weltbekannten Festivals Coachella, Electric Zoo und Lollapalooza.

Limited Edition one off pressing on Etched 12' Vinyl

Stand out track from Anna Meredith's critically acclaimed album 'Varmints' gets a release on a beautiful limited etched vinyl in all of its 5 minutes 30 seconds glory, and comes backed with hard to find gem 'Miranda'. The flip side of the vinyl features an etching.

Anna Meredith, aside from sharing bills with Anna Calvi, James Blake and These New Puritans, Meredith's dizzying CV includes being Composer In Residence for the BBC Scottish Symphony Orchestra, writing a piece for MRI scanner, soundtracking Prada's Spring / Summer 2015 campaign, symphonies created for nursery children, music for park benches in Hong Kong and sleep-pods in Singapore. Performances at the BBC Proms have included collaborations with Laura Marling and The Stranglers for the first 6Music Prom, a performance of her body-percussion piece 'Connect It' from the BBC Ten Pieces project and her Last Night Of The Proms composition 'Froms', simultaneously performed by five symphony orchestras across the UK, was broadcast to an audience of 40 million people.

London 5-piece Hot Chip's debut album, celebrating it's 10th anniversary this year! There's a quite lovable oddball quality to this album, hints of Prince, the Beastie Boys, Beck.... a souled-up folk vision of chilled out pop music with a twist. 2005. A loungey, electropop sheen covers much of the music, but more than anything, Hot Chip displays an omnivorous approach to the entirety of alt, '60s pop and electronic music history. Their songs are infectious, silly and often weirdly beautiful. With singer-songwriters Alexis Taylor and Joe Goddard at the core, Hot Chip's mixture of textured, smart, lo-fi groove with actual humor is incredibly rare, and great.

Following some ear-catching manoeuvres across releases like last year's self-released 'Only' and 'Lagata', which gained her early fans like Bjork and Dev Hynes (who she supported in the USA), 'Tommy' marks Klein's deepest plunge yet into the deep, dark ocean' of her musical imagination on her Hyperdub debut. On 'Tommy' her vocals play with Fifties-esque melodies before switching to familiar tones akin to Brandy and Rodney Jerkins, her live voice and live piano playing filtered through hyper-glitchy and looped production with a loose, internal logic, cutting from angular atonality to pockets of skewered harmony. 'Tommy' also steps things up in conceptual terms. Its eight tracks are broken down into acts that are rooted in themes of vulnerability, sisterhood and death, threading the chaotic sonics with modern operatic undertones and a Shakespearean sense of tragedy. There's a lot of bluster about originality in contemporary UK music and what rises from the noise here is a creative voice who, by her very nature, plays with the construct of what pop is. This is Klein's world ... it's on us to get with it.

Pearson Sound returns to his self-releasing label with the hyped 'XLB', accompanied by new track 'Tsunan Sun' on the flipside.

Electronic excursions from Düsseldorf/Osaka duo: HINOSCH is the performing moniker of Koshiro Hino (Osaka) and Stefan Schneider (Düsseldorf), who present their joint debut release on Düsseldorf's TAL imprint.

Having just finished a number of collaborative live sets in Japan und Europe, Hino and Schneider have prepared four unruly studio tracks, pushing unsynced electronic instruments into knotted spaces of tape treatments and sinuous operations.

Running parallel to their various solo and collaborative works Hino and Schneider are fully committed to HINOSCH as a joint project with its very own DNA.

Although the four tracks of HINOSCH do carry a sense of spontaneous and rough syncopation, the production here is tightly crafted. The opening title TALENT offers swelling arpeggios which wobbles over distant drums before playfully proceeding into the hiss and bliss of a pitched down vocal drone. From here the music of HINOSCH unfolds as a playful circulation of fragmented connections and pulsating motifs.

After having emerged from the ever thrilling Osaka music scene onto the international playgrounds of electronic music just a few years ago Koshiro Hino's solo activities as YPY and his involvement with the band GOAT have already garnered him a very favourable international reception.

Stefan Schneider has over the years produced and collaborated with a.o. Joachim Roedelius (Cluster), Arto Lindsay, Klaus Dinger (NEU!), Dieter Moebius (Cluster), Alexander Balanescu, John McEntire (tortoise), Katharina Grosse, Bill Wells and St.Etienne.

The Lapse of Exchange, is the sound of life as heard from a small Chinatown window in downtown Manhattan, the thunder of populism on the horizon. The album opens with music that reflects the inherent tension between the life of the artist — the self-doubt, the late nights, the aspirations — and the world outside — the hustle and bustle of a city that never sleeps, the wars abroad, the politicians at home. It's a tension felt in the repeating, circling keys of "Let The Pianos Freeze", the pulsating rhythms of "No Juntos", or the call and response of pitched vocal samples in "A Sword In The Rain". Ultimately it all becomes too much for our unwitting hero: the car horns outside the window, the 24 hour news cycle, the early stages of an election that tears down any remaining semblance of normality. Reto A'ichi can no longer grasp his humanity or connect to that of people around him. With the walls closing in, he packs his small life and escapes. This change in situation is reflected in the second half of the album, with tension giving way to a rush of emotions: modulated elation on "All Regrets", sweeping melancholy on "Tuesdays Always Awful", and soaring hope on "Broad Plant Pt.2".

Jamaican dub structures strongly influenced by 90s Chain Reaction/Basic Channel atmospheres and UK Trip hop elements.

Pre-Echo Press announce Beast, a new project & moniker from acclaimed Sound/Visual Artist, Koen Holtkamp (Mountains, Thrill Jockey). A somewhat radical departure from Holtkamp's previous working modes where sound has typically been treated as an edifice to be sculpted, the works here are far more concerned with the generative possibilities of rhythm. The pieces on Beast developed out of Holtkamp's creation last year of an audio-visual performance that centers on the physical properties of light via 3D laser projections. Rather than simply make a visual element for a piece of music (or vice-versa), Holtkamp created a system that intricately links every aspect of the performance, from the modular synth and virtual instruments to the constantly shifting projections of his Color Phase' light installations. As form follows function, the sounds created here are by necessity more immediate, more off the cuff, more pattern oriented, and explore a much further range of dynamics than the somewhat amorphous (yet still gorgeous) work he's become well known for. The work harkens back to Process Music of the 1970s, being simultaneously minimal & maximal (think Jon Gibson), as well as the the lush pop-minimalism of early 1980s Soft Verdict, all the while remaining thrillingly contemporary.

Beast Volume One was recorded in real time and is presented with minimal edits to divide it into three pieces, and is the slightly rawer & more abandoned of the two volumes, while Beast Volume Two is a more in studio' version, and as such retains a more palpable air of elegance while still remaining a side of the same coin.

Pre-Echo Press announce Beast, a new project & moniker from acclaimed Sound/Visual Artist, Koen Holtkamp (Mountains, Thrill Jockey). A somewhat radical departure from Holtkamp's previous working modes where sound has typically been treated as an edifice to be sculpted, the works here are far more concerned with the generative possibilities of rhythm. The pieces on Beast developed out of Holtkamp's creation last year of an audio-visual performance that centers on the physical properties of light via 3D laser projections. Rather than simply make a visual element for a piece of music (or vice-versa), Holtkamp created a system that intricately links every aspect of the performance, from the modular synth and virtual instruments to the constantly shifting projections of his Color Phase' light installations. As form follows function, the sounds created here are by necessity more immediate, more off the cuff, more pattern oriented, and explore a much further range of dynamics than the somewhat amorphous (yet still gorgeous) work he's become well known for. The work harkens back to Process Music of the 1970s, being simultaneously minimal & maximal (think Jon Gibson), as well as the the lush pop-minimalism of early 1980s Soft Verdict, all the while remaining thrillingly contemporary.

Beast Volume One was recorded in real time and is presented with minimal edits to divide it into three pieces, and is the slightly rawer & more abandoned of the two volumes, while Beast Volume Two is a more in studio' version, and as such retains a more palpable air of elegance while still remaining a side of the same coin.

'Blancmange has been part of the soundtrack to my life ever since Happy Families was released.' JOHN GRANT 'Listening to Blancmange obsessively. Probably the most under-rated electronic act of all time.' MOBY Blancmange's new album was written and recorded by Neil Arthur and co-produced by Benge (Wrangler/John Foxx & The Maths and Gazelle Twin co-producer). It's been a fantastically creative period for both of them, releasing their debut album as a new electronic duo - Fader's First Light - in June 2017 and then the final sessions for Unfurnished Rooms followed immediately in the summer. For the new Blancmange record, all the songs were written by Arthur while Benge added percussion and layers of analogue synth, with the pair then mixing the record together in the latter's Memetune studios in Cornwall. 'Don't Get Me Wrong' features John Grant on piano and backing vocals.

Trance-derived melodies, murky industrial grooves and all-consuming harsh noise attacks. Created in transit between New York, Seoul and Berlin and recorded between the fall of 2016 and the winter of 2017.

Over 23 minutes, the EP shifts from densely layered textures to subtle piano notes and hard-hammering beats, seemingly mirroring the drastic changes of the times in which they were conceived.

With the help of Dirch Heather (modular synths), Elysia Crampton (piano), Mica Levi (dubbed piano), Jesse Osborne-Lanthier (synths) as well as Dominick Fernow alias Prurient and Death Grips drummer Zach Hill on percussion, Fred Welton Warmsley III reminds us that now is not the time to give up.

Having left behind a career as Joey Bada$$'s producer and his previous moniker Lee Bannon to pursue a more experimental musical approach.

It's a conceptual entity that draws on creative collaboration and aims at gathering unique artists under a single musical vision.

Amidst the cacophony, a distinctive voice can be heard. The Expanding Domain might sound bleak and unforgiving at first, but also communicates a hope as well as a desire to resist.

After all, there is a reason that this record was created as a loop.

I've always tried to make music for clubs and outward facing experiences, but often in spite of my best efforts I end up supplying a sound that translates best on a private level. The communal listening experience is great, but not my favorite, never been. I have been escaping into albums on a solo mission for as long as I can remember. As a result I've developed a familiar closeness with dealing with myself and the emotions I navigate on a daily basis. Heaven is for Quitters is at it's heart about dealing with yourself, both the good and the bad. I want to share this album with the hope that it can be used as I have, a guide, a blanket, a reassurance that the path I have chosen is the right one. It is my job to share my experience and there is a lot of work to be done here on Earth, the thought of going to Heaven too early is paralyzing. I venture to think you'll agree. When I started Blueberry Records I didn't fully know what I was creating. It is fitting then that I release Heaven is for Quitters on my label, as it has become abundantly clear how much I love this label and what it is and can be, my future but ultimately continue to be a platform for others as well. When artists hand me their demos I see what Blueberry can be, this megaphone for peoples inner existence and a clear channel for their articulation. You know that feeling when you are so close to something you can't see the bigger picture, but when you step back you see what you have made and it is a mirror image of yourself That. This album is for those who've chosen their own path and all of its uncertainty and end up finding themselves along the way. How the roller coaster of life sounds. It is about Blueberry Records as much as it is about my daily life. I am thankful everyday for opportunity, both granted and created. Follow your own inner light. And please, please listen loudly. * I make music to the specifications of my studio. It honestly all sounds best right here. And even better at one spot at the mixing desk in particular. You should come over and hear it.

Originally released in 2012, the debut LP by Kiyoko (aka Synkro & Bering Strait) now pressed to limited edition marbled vinyl.

Omar Di Bongo is an audio-visual project that melts video feedback from Hugo Saugier with two figures of french underground techno scene, Somaticae (In Paradisum, Tanzprocesz...) known for his dark cutting edge techno, and C_C (Small But Hard, Kvitnu...) master of no input mixer feedbacks, and savage analog industrial beats. Their music merges industrial music with tribal polyrythms, and makes us dive into a certain kind of psychedelia between hallucination and dementia. Reduced to the essence, their productions bring back techno to its core, the trance dimension, often fogotten in many modern musics of this genre.

- 180 GRAM AUDIOPHILE VINYL
- TOUR EDITION OF 1.000 NUMBERED COPIES ON PINK VINYL

The Residents are one of pop history's best kept secrets, throughout the group's existence, the individual members have ostensibly attempted to operate under anonymity, preferring instead to have attention focused on their art output. Much outside speculation and rumor has focused on this aspect of the group. In public, the group appears silent and costumed, often wearing eyeball helmets, top hats and tails—a long-lasting costume now recognized as its signature iconography.

Intermission: Extraneous Music From The Residents' Mole Show is an EP by The Residents, originally released in 1982. It featured music from the opening, closing and intermission portions of the Mole Show. It was the first in a line of albums that would bear the warning that it was not part three of the Mole Trilogy. Punk band NoMeansNo covered Would We Be Alive' twice: once on an EP of the same name, then again on their In the Fishtank EP.

This limited Tour edition of 1.000 numbered copies is pressed on pink vinyl.

- 180 GRAM AUDIOPHILE VINYL
- TOUR EDITION OF 1.000 NUMBERED COPIES ON TRANSPARENT VINYL

The Residents are one of pop history's best kept secrets, throughout the group's existence, the individual members have ostensibly attempted to operate under anonymity, preferring instead to have attention focused on their art output. Much outside speculation and rumor has focused on this aspect of the group. In public, the group appears silent and costumed, often wearing eyeball helmets, top hats and tails—a long-lasting costume now recognized as its signature iconography.

Please Do Not Steal It (1979) by oddball group The Residents was a promotional compilation album sent out to various American radio stations to promote The Residents after the release of Duck Stab.

The full title is This is a special DJ record of The Residents' alleged music. Please Do Not Steal It! Keep it at your station - we need the radio airplay. Originally, a limited run of 975 copies were pressed.

This limited tour edition of 1.000 numbered copies is pressed on transparent vinyl.

Making a debut appearance on our own Invisible EP #6 compilation last year we're very happy to at last feature a full 4-track EP from the mysterious Immaculate Rivombo. Again the music is filled with that signature sound of live African percussion and 303s but this time with additional thumb pianos, hypnotic vocals and spacey synth lines. Purporting to be from Burundi (for all we know this could be the product of an elaborate ruse emanating from Berlin tbh) the enigmatic producer (he she they) has once again excelled and produced an EP that manages somehow to sound uplifting and spiritual at the same time as it is deep, dark and dubby. Whatever, the music's great and that's what matters. Definitely one to watch out for.

Dear Earth is from space.An interstellar traveller with a thing for Earth girls, he cruises the solar system aboard his sample powered mothership, harnessing the raw energies of ion propulsion and jazz to slide through rifts in time and space. He is a galactic nomad, a star voyager,a wanderer through the vastness of the void.He has decided to spend some time in London and drop an EP on Wholemeal Music.

Ziúr is one of the most exciting producers to come out of the fringes of Berlin club music in the last few years. A new generation is breaking out of the techno mould and creating in a spirit of freedom and experimentation, taking seemingly incompatible influences and balancing them into a new and exciting sound. Ziúr is also the founder and resident DJ of 'Boo-Hoo', a night championing diverse lineups, reflecting it's creative audience, bringing through the cream of the experimental dance underground. Planet Mu are proud to release Ziúr's debut album 'U Feel Anything' in collaboration with Objects Limited, a label run by Lara Rix-Martin which releases music by women and non-binary people. For someone who has previously released just two EPs, the vision of Ziúr's music is advanced and precise. It's music which beckons you into an alternate world, wonderfully alien pop music that eschews conventions. She creates eldrich atmospheres that balance gentle melody and warm pop, in which strange elfin voices sing from other worlds and spiralling rhythms feel like entire structures moving. In the latter half of the record these harden into a pounding, martial symphony of steel, and introduce the kind of rough electronic riffs and guitar samples that betray her background in punk. 'U Feel Anything' was written as a way to think about music as a tool of enlightenment, a de-conditioning force and the kind of yin and yang that can be summed up in the title of one of the songs 'Laughing and Crying are The Same Things', a track which features Swedish pop singer Zhala, whose vocals straddle twisting beats, space and staccato strings. The album also features a collaboration with Aïsha Devi on the epic 'Body of Light', in which Aïsha's vocals are pitched up and down, manipulated and distorted into wispy angelic tones, setting the tone for the first half of the album. There's a process to Ziúr's music that's informed by this wish to get beyond the small things. She says "Putting a relation on what's big and small and certainly meaningless behind our existence, how nothing is everything at the same time etc... it's something that I try to explore again and again by putting myself into a thought process, rather than having everything already formulated."

It's a record of powerful, emotional twists and turns and mind-flipping contrasts that resonate with depth. As Ziúr says "I believe you can only tell that something is harsh when you have a soft side to compare it to. If everything is amazing then nothing is, right"

Lag Records are delighted to announce our first official release, a reissue of the 1986 single Neo-plant by Koharu Kisaragi and Ryuichi Sakamoto, licensed by King Records Ltd co,. Japan. The first and only single taken from Koharu Kisaragi's Tokai No Seikatsu LP, was cowritten and produced by the Academy Award winning musician, composer and producer Ryuichi Sakamoto, best known for his contribution in the pioneering electronic group Yellow Magic Orchestra and has musical scores for Merry Christmas Mr. Lawrence, The Last Emperor and The Revenant.
Singer, songwriter, dramatist and theater director Koharu Kisaragi sadly passed away 14 years after her very short musical career, single Neo-plant and her LP Tokai No Seikatsu her musical legacy. Ryuichi Sakamoto after featuring on over two hundred different releases over four decades is still creating music in varying capacities. His most recent 16th solo effort async has been met with fantastic reviews.A-side Neo-Plant is a sample heavy, avant-garde, synth pop piece driven by early hip hop and dancehall rhythms. The B-side is a completely different affair, Traumerei a minimalist piece takes more from Japanese folk with Koharu's voice swooning over bassoon melodies, finally Tail is a new age gone in a flash instrumental.Neo-plant has been cut using the original master tapes by King Records engineers in Japan. The record comes with all its original artwork including the obi and insert with English and Japanese lyrics on standard black 12' vinyl.

Death Waltz Recording Company is proud to present the pulsating Italian synth score to director Alfonso Brescia's 1980 sci-fi adult action film, THE BEAST IN SPACE (La Bestia nello Spazio).

Borrowing heavily from Walerian Borowczyk's THE BEAST (La Bête), most notably its sexy b-movie seductress Sirpa Lane, along with elements of STAR TREK, CALIGULA, and even STAR WARS (light saber battle, anyone), this treasure trove of trash cinema is truly a sight to behold. Throw in a plethora of hardcore stock footage inserts, including a loving pair of amorous horses (be sure to experience the XXX-rated version), this heavily scotch-taped piece of sleazy celluloid also features one of the genres finest electronic soundtracks. Veteran Italian composer Marcello Giombini, credited in the film as Pluto Kennedy (best sci-fi pseudonym ever), delivers a brilliant synth and effects-heavy score that was not only fitting of the outlandish images on the screen, but also clearly influenced by Wendy Carlos' A CLOCKWORK ORANGE synth work. Who better than Giombini to deliver the appropriate soundtrack to an intergalactic struggle which somehow ends up with a giant well-endowed space faun chasing Sirpa Lane around an extraterrestrial landscape. This score will surely enhance your auditory senses during your next space sexcapade...but be forewarned, dear friends - you never know who (or rather, what) might pop up.

* LIMITED EDITION VINYL REISSUE with Free CD.

* Originally released in 2006 over a series of 10" vinyls, and accompanying CD, Tectonic Plates Volume 1 became a hugely important landmark in the evolving soundscape of the emerging dubstep scene at the time. The compilation features an all-star line up and includes many formative classic tracks by scene-defining producers of the era. If you were there at the time, you will know this was a definitive compilation for both Tectonic and for dubstep in general. 10 years later and we are celebrating this seminal release with a special edition reissue, collating all 8 tracks from the 10" series into a double vinyl 12" pack. * 'Bahl Fwd' opens the compilation in fine style. It's known for being Skream's weightiest ever production, and when dropped on the right system will cause buildings to crumble. It's an all-star lineup though and alongside we also find underground anthems from Digital Mystikz' 'Molten' (Coki on production), Oris Jay under his Tectonic alias DQ1,with 'Wear The Crown'; Roly Porter of Vex'd under the guise of Armour with 'Iron Man'; Distance's trippy sitar-led 'Temptation'; MRK1's grime-dubstep crossover sound of 'Slang'; Hijak's drifiting 'Nightmarez' and, of course, one of the all-time Loefah classics, 'System'. Original sounds from a definitive era in dubstep music.* Also included in this limited edition package is CD2 of the original Tectonic Plates Volume 1 CD edition - a special Tectonic mix recorded in 2006 by Pinch featuring compilation tracks alongside exclusive, and still unreleased, tracks such as 'Pages' by Pinch, 'Full Metal Jacket' by Omen and 'The Haunted' by Headhunter. You won't find them anywhere else.

Social Decay expands on their intense approach to techno with nods to noise, industrial and drum & bass. The Manchester duo's second LP-a triple vinyl package-follows 2014's Cosmic Microwave Background, which also came out on Speedy J's label.

Although there are hundreds of newer electronic music acts who wield heaviness and saturated sound as their primary weapons, AnD keeps finding bold new ways to separate themselves from the rank and file. The production duo of Andrew and Dimitri - conduits for the industrial music legacy of Manchester - excels at showing that aesthetic extremity does not have to equal monotony, and that it can be applied to any number of song forms.

Their new Electric Deluxe LP, Social Decay, is simultaneously one of their most overwhelming and most innovative efforts. This visceral new release comes from the same hazardous, blasted terrain that informs the work of kindred spirits like Kerridge, Oake, and Justin Broadrick's many projects (Broadrick has incidentally remixed material from AnD's previous LP). However, there is lots of room to maneuver within this landscape of constant tension, and AnD brings a diversity and story arc to their overloaded attack that distinguishes them from their peers.

Whereas AnD's previous LP Cosmic Microwave Background utilized the duo's intensity to pay homage to the enormity of the universe and the incomprehensibly violent processes involved in its creation, Social Decay takes things back to earth and right down to a 'street view' more gritty and contentious than what Google Maps often reveals. While AnD could have easily made a topical album in the way that classic hiphop considered itself an alternative news source, they sidestep obviously current affairs in favor of broad concepts that could be applied to any point on the timeline of human struggle.

Beginning with a feedback-drenched, shuddering premonition of things to come ('The First Element'), each successive side of the album presents a new level of intensity, itself brought about by increasing levels of tempo and compositional coherence. The first suite of tracks, including 'Corrupted Structures' and 'Anarchic Rhapsody,' is pure industrial music comprised of multi-layered noise collage, venomous and halfcomprehensible whisperings, and rhythm structures that compel listeners to maintain an obedient posture rather than to ecstatically hit the dancefloor. Without completely abandoning this atmosphere, the next four or five tracks flirt more heavily with hip-hop inflected beats and an unmistakable sense of hyper-urban vigilance. Window-rattling tracks such as 'Pandemonium' come across like urban audio camouflage meant to defend its users against surveillance by shadowy and invasive entities, while 'Screaming Voices' adds infectious EBM sequences to the mix.

Just as it seems like the duo is settling in to a groove, the mutant drum-and-bass rhythm and cinematic bombast of 'Resisting Authority' strikes with explosive high-tempo energy. As carefully planned out as a well-choreographed, climactic sequence from a Hong Kong action thriller, this is one place where AnD's dedication to narrative really shines through. 'Taking Control' and 'Kepler' provide the effective aftershocks to this number, while 'Disturbed Reality' closes out the album in an unexpected sense. While many would rely on a reflective, ambient 'outro' to help fade listeners back into reality, AnD just keep continuing to deliver the crunching beats and looped warning cries, maybe hinting at the fact that reality is not far removed at all from this record's representation of it.

Originally released in 1991 as a limited run of 100 self distributed cassette tapes. The 5 tracks touch upon Ambient, Dub, House and Balearic styles and show an ambition to create timeless music in the vein of William Orbit, Ultramarine and The Orb. 25 years later these songs finally reach a wider audience....on cassette, again....for now..

It's been four years since Zach Saginaw, aka Shigeto, returned home to Michigan from a stint in Brooklyn, NY, and since then, the multi-faceted musician has become a part of the fabric of Detroit's music scene. While always having a personal approach to his projects, Saginaw's influences for his third album, The New Monday are more about the community of Detroit than anything else. Named after a weekly DJ event called Monday is the New Monday that Saginaw does at the unassuming Motor City Wine with a group of friends, The New Monday is the result of Saginaw diving into the city's deep record culture, where there legacy of artist's of the past help Saginaw embrace his own contributions.

It's focused on a couple things and they all kind of come together to represent different things,' explains Saginaw. My time back in Detroit, back living in Michigan and spending time with a lot of kind of original people who have always been here, learning from them, hearing stories from them, being influenced by them, and inspired by them.'

While, in the past, projects like Lineage or No Better Time Than Now were rooted in strong personal messages, family and relationships respectively, The New Monday represents a communal eort where solidarity is the key. Going for a simplified approach of just trying to make good tracks, The New Monday is diverse in its styles leaning more into a dance music direction - new ground for a Shigeto project. A new air of confidence in Saginaw has expanded his horizons since his return to Detroit, but traces of his past work will continue to be present.

I don't want people to think I'm leaving anything,' says Saginaw. I'm still me. It's a result of me being immersed in the culture, and inevitably making music that is influenced by that culture whether it be house, techno, jazz, rap. It doesn't matter. It's all coming from what I love about Michigan.'

While The New Monday still features the jazz textures long associated with Shigeto projects, the varied elements that make up the album cohesively come together to show the distinct inspiration that Saginaw has drew from since his return home to Detroit. Like on Barry White', which features Detroit hip-hop artist ZelooperZ (a member of Danny Brown's Bruiser Brigade crew who Saginaw also has a side project with called ZGTO), Saginaw captures everything he's been doing all on one track. As much as it's hip-hop influenced, it's a mutant that encompasses elements of dance music, jazz, and ambient sounds

Throughout The New Monday, Saginaw poignantly references the musical influences that have either always been with him or newly discovered. It is Saginaw's interpretation of Detroit's rich culture of innovative artistry, but done so with respect for the history and to contribute, not disrupt.

I think over the past four years, I can confidently say that I found my place here,' describes Saginaw. I'm happy here and I feel that I have the respect from the people I need respect from, that I want respect from. It's all of the result of embracing it and embracing, not Detroit, but embracing community, embracing family, being closer to my parents, being closer to my oldest friends.

- Shigeto's third full length, his first album since 2013's No Better Time Than Now
- In between has remixed Anna Wise, Hundred Waters, Su-an Stevens, U.R. etc.
- Media support from BBC Radio, Pitchfork, Stereogum, Fader, THUMP, Resident Advisor,
- Vinyl is housed in a matte gatefold jacket with purple foil

Minor Science returns with more genre defying bass experiments on this 2 track Whities 12".
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The sleeve designed by Alex McCullough, is a 12" accurate scale reproduction from Willem Claeszoon Heda's painting 'Still life with gilt cup' (currently hanging in Amsterdam's Rijksmuseum).

Sirens is the highly anticipated second full-length LP from Nicholas Jaar, the Chilean-born electronic music producer, mixing engineer and DJ, which comes out on October 14, 2016 via Other People/Kobalt. A prolific artist with a wide palette of talents, Jaar spent his teenage years in dance music circles in New York City, where he now resides. In 2011, he released his debut album, the critically-acclaimed Space is Only Noise. In 2012, he was contributed to BBC Radio 1's prestigious 'Essential Mix' series, winning 'Essential Mix of the Year'. In 2013, Matador released the debut album from Darkside, Jaar's project with his friend Dave Harrington. The band toured the record with a giant, rotating circular mirror, with key performances at Primavera Sound and Coachella. Other notable projects by Jaar include From Scratch, a live concept first developed for MOMA PS1, Pomegranates, an ambient record and alternate soundtrack to the Armenian film The Colour of Pomegranates, and the original soundtrack for´Dheepan, a thriller by the French filmmaker Jacque Audiard about a family of Sri Lankan refugees living in the suburbs of Paris. Dheepan won the Palme D'Or at Cannes in 2015. Jaar is the founder of the New York based imprint Other People, releasing music and spoken word by a diverse group of artists ranging from Lydia lunch to Ezekiel Honig.

Alone Moving Often, the second album, we find Reto A Ichi
away from the city, lost in the vastness of empty summer houses and the complications that solitude brings. Sitting in the prison of his own quiet, Reto A'ichi seeks to capture the essence of silence: the compositions are stripped back further ("Pforever Reto"), the instruments given prominence ("So Contra"), and the chaos of the city replaced by the cacophony of nature ("Criminality") To be alone, one must learn to constantly move in both work and purpose. As the rest of the record unfolds, Reto A Ichi comes to realize that nothing is ever truly quiet and that to run from the world is to simply find yourself in another part of it. A sense of acceptance for these unsettling realities is reflected in the music, from the harsher tones and frequencies that resonate throughout "Noise Counter Melody" and "Ghost Arpeggio" to the heavy stroke of the keys on "Alone Moving Often" and the haunting drone of "Mountainside Hillside".

Keysound Recordings are proud to announce the second album from UK don Sully. While the double vinyl features grime legends Jamakabi (Roll Deep) and Jendor (Essentials/OGs), it showcases Sully's peerless status across UK bass-driven music, moving though epic soundcscapes, twisted next ragga jams, dark 2step, grime and into chopped up jungle. 'With music one of the big motivations for me,' explains Sully, '...is its potential to push the crap into the background - to create moments where problems go out the window for a while. That's the drive behind 'Escape'.'

After a storied recording career that has so far taken in albums for Further, Mathematics and Danyy Wolfers Strange Life label, Spanish artist Vagon Brei added label boss to his CV earlier this year with launch of Mystic & Quantum. Record labels come and go but few arrive driven a real specific concept in a way that Mystic & Quantum are with each album length release conceived to show stories of "adventures, magic, science". Having launched in auspicious fashion with albums from DMX KREW and San Laurentino, Vagon Brei helms the third release with a nine track set entitled The Secret Of Swamp Castle. Seemingly taking influence from Giallo Horror, Brei's album comes across as a compelling collection of synth explorations that will have you returning again and again in order to uncover the Swamp Castle's secrets.

another piece in the anom vitruv puzzle. might be something about what it's like to be a shadow.who can flip it like this

Second EP on FireScope Records the new sub label of the legendary B12 Records. A label core to the UK techno scene with roots starting in the early 90's launched by Michael Golding and Steven Rutter. FireScope Records is here to exist in conjunction with B12 Records and with the same ethos, quality music, quality packaging, without compromise and a product that will stand the test of time. FireScope will diversify somewhat, not just deep meaningful techno, but also techno with vocals, real songs with real meaning.This release is by B12, UK techno at its finest. Established early 90's with a multitude of releases appearing on Warp Records UK, B12 Records, Soma Records, Delsin Records, FireScope Records, ART B12 became active again in 2015 with the Soma release Bokide 325' and the Delsin release Orbiting Souls' and this year on DeTuned Transient Life' and on FireScope BrokenUnBroken'The EP entitled Deceased Unknown, a seemingly morbid piece of art (art/music) but look a little deeper! This EP sees B12 pick up the pace from their previous FireScope release BrokenUnBroken Coduktor' An organ plays some subtle chords behind this track while beautiful drums skip along on top, to create a sonic backdrop for the very quirky melodies and top lines that constantly evolve and interpolate. A spiritual experience Dont Look Down' 808 and 909 drum and pads always a killer combination add to this an odd malformed bass line which never really reveals quite what it is doing makes for a pretty interesting track. Don't look down where is the question Blue and Green Capsule' A pumping kick drum sets the pace for this track which builds up using classic B12 style drums. The swirling pads and sliding melodies interlaced make this track reminiscent of Epillion' as featured on the classic B12 album Time Tourist' on Warp Records in 1996. A track you can move your feet as well as your head to Minor Decay' brain decay , world decay , urban decay , human decay , music decay , unavoidable decay - a simple straightforward techno track using its simplicity to conjure up feelings of sadness and thoughtfulness as well as joy and hope. A new hope Finished in glorious red with black splatter vinyl with exclusive artwork by Sarah Sparkes

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Body Consonance is the follow up to Precipice, Byron Westbrook's critically acclaimed debut from 2015.

Taking a turn towards greater immediacy, this new album is far from "ambient" with ecstatic abstract rhythm as its anchor. An artist who also operates in visual contexts, Westbrook utilizes binaural qualities of the stereo listening format to sculpt three-dimensional sounds in perpetual motion, producing works that are both pointillistic and psychedelic.

Body Consonance is a meditation on physicality, a virtuosic choreography of sonic textures, colors and shapes woven together, Bodies in motion, conversing, orbiting, colliding.