Beats News

"WILD" is the most complete musical work by Nuage up to date. Following a thought-out plan from beginning to finish - with a real introduction, development, and conclusion - the album is influenced foremost by the sun, sea and tropics. The music slowly evolves from warm and uplifting songs towards colder and more mysterious realms.Taking a full year to finish the album, including the entire change of season from summer to winter, memories of trips to Mexico, the mountains, and the seaside fade away and are replaced by days at home and in the studio in cold St. Petersburg. At the same time the music itself goes through a very personal development from outgoing moments to parts of personal reflection.Without adding too much weight or philosophy to the music, the album is an easy and natural listening experience that explores contrasting and at times contradicting themes between summer and winter, cold and warm, introverted and extroverted and many layers in between, while also harmonizing the musical past, present and future of Nuage.Following his critically acclaimed "Neida" EP from 2015 (FACT, BBC Radio 1, thump, XLR8R, Clash, Ransom Note, among many others), "WILD" comes out worldwide in limited colored double vinyl and features such guests as his friend BOP, Brooklyn based BAILE, Olga Maximova (Harp), and Belle (of Left Rib).

Ion din Dorobanti is one of the many monikers of the ubiquitous producer Ion Dumitrescu from Bucharest. His 7' single on Pingipung shows the oriental influences on bass music in his hometown.
This release carries the Manele, Romanias wedding music which dominates contemporary pop styles since 30 years, towards new sonic realms. On the two tracks, he drag psychedelia and analog electro into the manele-sphere. The first one presents a radical afro-electro rework of Alex Pustiu's 'Mi-e Pofta de Tine Rau'.
Ion din Dorobanti's original production on the other side is a track pulsating on a 9/8 groove infested with synth nostalgia. All is spiced up by Nicu Chinezu's on clarinet.
Ion Dumitrescu is the co-initiator of the Future Nuggets label and its sub-label P-Balans. They are both based in Bucharest and run in heavy rotation at the Pingipung office and in our DJ sets.
If he is not Ion din Dorobanti he appears as Australopitecus Oltensis or Utopus as a producer. Among his productions are the brilliant debut LP by Steaua de Mare, the first LP of the legendary band Rodion G.A together with Strut Records (London), the Raze de Soare EP and both volumes of "Sounds of the Unheard from Romania".
These two summer anthems are part of the ongoing series of 7'-releases on Pingipung. Other singles recently came from Ya Tosiba, Sven Kacirek, Andi Otto or F.S. Blummbastic.

Static motion. Joyous hope pierced by doubt and anxiety. The ever fading memories of life-changing experiences. Longing and craving for a moment long gone. An apothecary dream resembling pharmaceutical peace of mind. Originally released by Noorden in 2016 as a limited of run of only 50 cassettes, this release represents a more ritualistic, melancholic and intimate side of Neozaïre's ethereal ambient and post-electronica sound. This special vinyl re-release includes an exclusive remix by UK producer Synkro."

Vinyl tastes better...

DDS prise another absolute gem from Japan's Shinichi Atobe, presenting 6-tracks of original,
previously unreleased material recorded some time in the last 20 years in Saitama, Japan which perfectly complements the sublime ambient house zen of his Butterfly Effect album.
The reclusive artist has seen a lot of justified, and somewhat overdue, praise surrounding the reissue of his sole early release, the Ship Scope 12' which was originally issued by Berlin's Chain Reaction, label in 2001, whilst the dispatch of his distinguished and subtly diverse Butterfly Effect LP arguably came as a surprise for many heads who had him pegged out solely as a dub house producer.
His new World EP will expand those preconceptions again, coursing a beautifully louche and debonaire vibe from the most minimal loops and motifs - the kind that one could play all day and would hardly ever tire of hearing them.
The supple, floating DX7 bass contours and vaporous jazz chords of Intro start up like some Chicago or NYC deep house classic lost in its own reverie, and could o n for as long as it wants,
before the rainy day piano house melancholy of World 1 promptly inverts that supple aesthetic with a fizzing, hazy sort of depth perception and World 2 switches again to a sort of trim dub momentum in stepping, swinging equilibrium, riding the groove like no other.
Turn over and the lingering, slowed downstroke of World 3 sounds like it got waylaid from a KGB MAN/0PN session with Wolfgang Voigt, whilst World 4 jettisons the bass altogether to thizz and skip away in the highest registers with an intoxicatingly heady, mesmerising appeal which also makes the uniquely brittle but spacious breakbeat trip of World 5 so narcotically seductive.
We hardly need to spell it out for you,- this is highly idiosyncratic, exceptional material, with highest recommendations to anyone with a or taste for house and ambient's refined, soulful and experimental echelons.

Berlin based Kashual Plastik (or Kashual), has quietly ploughed its own furrow over the last few years, with releases by Georgia, Bufiman (Jan Schulte), and a mixtape by DJ Richard, among other delights. The label returns with a new EP, combining industrialised electronics, organic field recordings and drone guitar trips.

MM/KM collaborator Matalla (Kann Records) lifts the curtain with a pick-up-sticks tropical percussion episode. Robert Bergman (Bakk Records), proves that industry is not dead yet, with a pulsing factory of sound, turning out objects we had not found the use for, until now. Ernesto González's prolific alias: Bear Bones, Lay Low provides a sci-fi spring reverb excursion into the wrong part of town. Frankfurt's Inkasso, oversees a session of metaphysical kraut-tinged loop therapy. Promoter / DJ and label boss, Herc E Rillen brings the show to a close with his mysterious, psychedelic machine.

The sleeves are handcrafted and screen printed, with a sticker and poster, only 200 copies made

I shall go to bed now - one day we shall all be shades. I adore you, I adore you, I adore you, but I'm fixated on making myself sick. Welcome to the centre part.

John T. Gast's 'Inna Babalon' was originally published as a cassette on Gast's 5 Gate Temple in 2016. An important offering int he British producer's output. Revitalizing Anglo-Saxon folklore through bassy dub magic.
Haunter Records is now remedying the physical unavailability of the album by giving it renewed life as a Limited double LP.

Freerotation resident Duckett lands on Facta and K-LONE's Wisdom Teeth label with a new 4-tracker, Gannets For Guano - the label's first single-artist EP, and Duckett's first for Wisdom Teeth. Having already released wonderful records on Galdoors, Greta Cottage and UntilMyHeartStops, Duckett's latest fits in perfectly amongst Wisdom Teeth's backcat - his malfunctioning rhythms and spoon-bent melodies occupying that sweet spot between order and chaos that the label has always done its best to occupy. More so than ever, Gannets For Guano sees Duckett exploring far-out territories. The melodies are psychedelic, the rhythms are disjointed and swinging - but always keeping just the right side of chaotic. Even at its most eccentric, the EP rolls with the functionality of techno, and boasts buckets of soul on account of Duckett's truly singular knack for melody. With Gannets For Guano, Duckett and Wisdom Teeth continue to establish themselves as go-to names for UK-rooted gear and tripped-out house and techno.

Daybreak tends to creep up on you. Emerging from starry darkness, the sun wobbles at first but proceeds on its scheduled arc. You can't help but wonder if it ever looks back in disbelief, or regret. This feeling of self-reflection—of looking back to see how far you've come—is precisely the sentiment of Thawing Dawn, the first solo record from A. Savage, released on Dull Tools.

The songs on Thawing Dawn form a guided tour through the romantic environs of A. Savage's mirrored mind. While some were written recently, other tunes were penned over the past decade. For one reason or another, these compositions didn't land with any of Savage's other groups, and instead are presented now as a distinct collection. Reflecting back, Savage says, Once I realized I had a small body of work that didn't fit anywhere else, I started to examine the commonalities: What's the common denominator of all this and how I can expand on it'

Savage is best known as the frontman for Parquet Courts, a duty split with fellow Texan Austin Brown. Their last record, Human Performance, delved into the emotional wreckage of a broken heart, to critical acclaim. But with Thawing Dawn, it's clear that Savage has matured. While assembling the record, he fell in love. Now, for the first time, we hear songs about being on the inside of love. Rather than lamenting the end of a relationship, we hear a voice trying, in the moment, to make sense of love's mysteries. Part of this maturity,' he says, is reflecting on something when it's happening, not just when it's gone.'

Thawing Dawn gives us honesty: We see the artist at home in bed, more singer-songwriter portrait than esoteric statement. Throughout his discography Savage has long abbreviated his first name as a kind of writerly gesture. He says, of the move, I am an uncivilized member of modern civilization--I'm just a savage.' Like Duchamp's R. Mutt signature on a urinal, the shortening embodies a mischievous directness, enabling this savage to introduce his slanted honesty into the universe.

I always like it when records are good representations of communities,' Savage says, and this one succeeds in this regard. These ten songs were recorded by a cast of friends in Jarvis Taveniere's Thump Studios in Brooklyn. Members of Woods, Ultimate Painting, PC Worship, EZTV, Sunwatchers and Psychic TV all lend their talents. Savage's voice, once shouted into mosh pits, now glides confidently above its backing band. Thawing Dawn marks the arrival point for Savage as a sensitive and skilled vocalist. A strain of rural inquiry tinges the soundscape, an ongoing trope in Savage's writing most powerfully felt on Parkay Quart's ballad Uncast Shadow of a Southern Myth.' On this record it is stronger, with a healthy helping of pedal steel guitar, a chorus of female back-up vocals, four familiar chords, and maybe the truth, all layered throughout these songs. Their titles also steer us this way, but don't fully convey the hidden intricacies. Buffalo Calf Road Woman' opens the record in a burst of C&W energy. The staccato pop piano of Eyeballs' lays crisply beneath a refrain of heartbreak. Wild Wild Horses' finds him confessing inside a Talk Talk bubble of guitar static and organ. The build-up of What Do I Do' yields a guitar freak out that Parquet Courts fans will recognize. You could two-step to the swing of Phantom Limbo.' Ladies from Houston' is a Leonard Cohen-like ramble through a party scene. Finally, the title track is a suite of three interwoven songs that closes the record in a beautifully cinematic style.

Throughout, A. Savage delivers one-off lines of razor-sharp observation that will stick in your brain, only to surface when you're least prepared to handle their insights. When you put your copy of Thawing Dawn on your turntable and drop the needle, you'll learn what A. Savage has to say about romance in our modern world. Keep your ears open--it's worth hearing.

Renegade ravers, Koehler and StabUdown Productions - a new alias of James Donadio (Prostitutes) - get loose and chaotic in a deadly stand-off for Diagonal, firing four barrels of belligerent electronic shrapnel and sawn-off techno following a slew of crushing solo 12"s spread around the wrongest rave houses over the last five years.
On Jim v Dan they offer a sort of snarky peer review of each other's tackle, with each producer offering an original cut to be sniffed, prodded and mauled by the other in an itchy, virulent process of rugged refinement. While it may be hard to tell who takes the points after four rounds, either way the rave comes out on top.
In round 1, Koehler makes the first move with Incoming Enemy, doling out a rictus tattoo of rail-gunning 'ardcore breaks and bleeps that bite down with the curled-lip attitude you'd expect from indulging any of his ramrods on Berceuse Heroique and Skudge White. In response, StabUdown's Jim Donadio gives back a sort of 2-stepped industrial shoulder barger nagged with gnashing breaks and dub-churned bass from the Valve playbook.
For round 2, Jimlad takes the first slap with a mighty twist of dancehall techno recalling the sick mutations of Demdike Stare's Wonderland LP, harnessing hardbody groove with sticky, stinging
electronics for one of the deadliest shots in his armoury, which Koehler duly hypnotises with a sort of drunken snakestyle inversion, diffusing its reticulated energy into a spaced-out reel of
bleeps and Uchronic AI techno - think B12 meets Orphan Drift.
Mad tings. Recommended to all mutant ravers!

clear vinyl in printe PVC sleeve, ltd. to 350 copies, incl. mp3

For The Modern Institute's self-titled first vinyl document, the practices of audio technicians Richard McMaster, Laurie Pitt and James Stephen Wright are brought into sharp focus, the initial analyses of a project which examines the rituals of performance, the signifiers of bourgeois culture and the absurdities inherent in the middle class art gaze. While undoubtedly disturbing in execution, it's a succinct reminder of the tension between lazy, electronic music tropes and the essential, quizzical attitude frequently lacking in the technoid culture, yet abundant in Glasgow's agent provocateurs.
Seen through the frame of primary music generators McMaster and Pitt's previous music projects - Golden Teacher, General Ludd - The Modern Institute's recorded output is an oblique, strategic examination of rhythm and the spaces between.

Rhythm is often re-defined and re-formed through out The Modern Institute, with the easy 4/4, communally cohesive beats of the Teacher and the Ludd some way off. Opener Black Blood is a case in point, with a elusive pattern providing a warped, skeletal framework for Wright to smother. The atmosphere is austere, aggressive, clinical as a gallery wall after the exhibition has failed. The yawning, sub-bass of False Beards and Diamond Hooves hacks at the exhibition floor opening up punishingly alien chasms. The narrator's deadpan poesy, battling against the brutalist backdrop, reminds the listener of early industrial pioneers Cabaret Voltaire, not least in the unmistakably northern accent. Side A closes out on the first attempt by The Modern Institute to break into a recognizable pattern, though rendered on Destroy Logic as a dry destruction of a Bashment rhythm. Arabic Eight is nightmarish, a Normal deconstruction of art music. A nonsensical, Dadaist mutation of electronic dance music, Intelligent Dance Music with no intelligence, dance or Music. Wright intones when I was younger you used to say you weren't in it for the money,' taking down conceptions of artistic integrity, inspiration and muse. On Springloaded, we're still deep in an alien lifeform's insides, viewing the tropes the art industry uses to sell itself, splashes of digital distortion and burps crossfiring across the stereo field. Shiver And Quiver ends The Modern Institute, sounding like all the cities' alarms simultaneously set off to the beat of the LPs only 4/4 beat, here juddering and unnaturally fast. Ask questions, just don't ask for answers.

imited 180g vinyl version of album released digitally by Wall Of Sound. Includes digital download card
Lisbon Kid, exceptionally popular throughout the Balearics and the East London Electronic music scene, a unique production duo of Rui da Silva & Danny de Matos, whose most recent credits include Chloe Howl, have become a pioneering force in the world of digital arts. Hailing from Portugal with a unique, identifiable sound that combines pop sensibility and emotional lyrical content with curious ambience and sonic soundscapes. Many of their singles can be found on notable compilations such as Café Del Mar, Balearic and Golden Lounge. The band spend Summers touring a hybrid Live-A/V DJ Set that has seen them play shows in London, Ibiza, Cannes, and Lisbon.
When Lisbon Kid decided it was time to start recording an album, in the sunshine of Azeitão in Portugal, they found the resultant songs explored many common emotional and narrative threads. The album became a subtle blend of electronica and acoustic instruments, with elements of sound design, added to a huge song-based pop sensibility and emotional lyrical content. A consummate debut record, as diverse as it is adventurous. The melodic songwriting craft employed gives it it's unique personality and becomes obviously radio friendly. Invited guest vocalists include indie stars; Sarah Cracknell, Hafdis Huld, Lisa Billson and Queen of Hearts. Lisbon Kid album 'Lisbon Kid' will be released through Wall Of Sound as a limited edition of 300 numbered pressings only

- Code' ist das Debütalbum des Berliner Produzenten Answer Code Request auf Ostgut Ton. Ob seine DJ-Sets, die zunehmenden Auftritte als Live-Act oder mit eindrucksvollen Releases auf Marcel Dettmann Records und seinem eigenen Label ACR - Patrick Gräser zählt als Resident-DJ im Berghain zu den spannenden, neuen Gesichtern des Labels. Nach der - Breathe EP', seiner Debüt-Veröffentlichung auf Ostgut Ton, ist sein erster Langspieler nicht nur eine Frage der Zeit, sondern gar der logische Schritt gewesen.

- Code' ist ein Statement, denn es spielt und kokettiert nicht nur mit der Gretchenfrage der elektronischen Musik, welche Aufgaben und Perspektiven eine Techno-LP demonstrieren sollte, sondern stellt auch unsere gängigen Hörerwartungen in Frage. Denn während zumeist das Primat der Funktionalität als Paradigma in Stein gemeißelt zu sein scheint, kehrt ACR der bloßen Ansammlung von Dancefloor-Tracks den Rücken zu. Allesamt im letzten Jahr entstanden, stellen die zwölf Tracks ein originäres, andächtiges und erwachsenes Soundkonzept vor, das sich wie eine nebelverzogene Zeitreise präsentiert - sowohl durch die Einflüsse und Geschichte von Gräser, als auch durch Teilgebiete der Tanzmusik: von Detroit-inspirierten Elegien über den UK-Sound mit seinen Breakbeats und IDM-Bezügen bis hin zur warmen Seite des Berliner Techno der 90er-Jahre. Trotz der mitunter nostalgischen Tiefe, umweht - Code' eine geheimnisvolle Aura sowie mystische Stimmung, die sich wie ein roter Faden durch die Stücke zieht.

Die New Yorker Techno-Produzentin Umfang veröffentlicht ihr Debütalbum auf Technicolour/Ninja Tune! Umfang ist waschechte New Yorkerin, Labelgründerin und Techno-Feministin. Mit Discwoman, ihrer eigenen Plattenfirma, setzt sie seit 2014 der männerdominierten Clubwelt eine weibliche Alternative entgegen, in dem sie elektronische Musik mit feministischen Ansichten vereint und das Talent von Cis-, Trans- und Genderqueer-Frauen fördert. Ihre amorphen und polyrhythmischen Techno-Produktionen erfreuen sich schon jetzt großer Beliebtheit, und mit ihrem Albumdebüt "Symbolic Use Of Light" auf Technicolour, welches Mitte Juni erscheint, wird die Männerdomäne im Nachtleben endgültig gebrochen werden.

Dj Overdose brings us Higher and Higher with this new versatile 5 tracker on the rising Dutch label Pinkman. Cinematic soundscapes combined with sinister electronix. Comes with beautiful artwork on a disco sleeve. Tip!

As Morly, the Minneapolis-born LA-based musician, Katy Morley, creates brooding, otherworldly songs that are soulful and polished. Her first material debuted on Ryan Hemsworths celebrated Secret Songs label, her singles have amassed millions of streams online, and she was selected to support XLs Lapsley on a key U.S. tour in 2016. Now, after releasing two EPs with Cascine, Morly returns with her Sleeping In My Own Bed 12. These three new tracks again showcase Morlys refined take on pop, as well as her impressive vocal prowess. Sleeping In My Own Bed is coupled with b-side The Wetness and an alternate mix of the title track.

Henrik Rylander's music has been inside the spine of iDEAL since his 2004 album "Traditional Arrangements for Feedback". Rylander's music now and then, is uniquely made out of feedback, and feedback only. His no-input mixing desk rituals ends up in a sharp, cold, powerful and rough beauty. Listening to "Feedback Overload Unit", we draw lines to the unfrieldly works of electro-acoustic masters as Pierre Henry and Gordon Mumma but also to contemporary, like minded spirits as Mika Vainio (RIP) and CM von Hausswolff. Henrik Rylander makes stripped down, minimal, intelligent, raw electronic music that will be your new obsession.

Rylander (b. 1966) was involved in the Radium 226.05 crew in Gothenburg back in the late 80s/early 90s as the pulse for the infamous and tragically reunited garage rock outfit Union Carbide Productions, he then formed the shortlived band Sulky before he started to study photography and enjoying a deep interest for sound art and electro-acoustic music. He nowadays works as a forensic photographer working side to side with solo exhibitions of his art, and recording feedback music for iDEAL!

Aeon Seven, DJ and producer for more than 15 years and former member of french electronic duo Christine, is now again running solo and had recently joined the mighty 45 live crew.
His productions celebrate the golden age of analog music, that he restyles into a retrofuturistic Hip-Hop concept.
When it comes to turntablism, he is anything but a beginner, as his very first vinyl release Beyond The Time Barrier' (2000) was aimed at turntablist.
For his first collaboration with Beatsqueeze records, he comes with 10 classic and unusual skipproofs combos that will electrify the 7inch scratch game.

Limited Edition 7" vinyl (Clear Blue)

Jacob Long's newest recordings under the Earthen Sea moniker deepen his compelling synthesis of shadowy rhythms and opaque atmospherics, drawing on the most potent qualities of melancholic ambient and dub techno.

An Act Of Love' follows 2015's Ink,' released via Ital's Lovers Rock imprint,
and was inspired by internal tribulations and the experience of exploring an empty nocturnal metropolis. Careful waves of tones drift and decay, beats materialize and pulse across twilit landscapes, a noir mood reigns.

Given Long's background as bassist for revelatory tribal-punk trio Mi Ami, An Act Of Love' showcases a musician in the midst of transcendent redefinition, crafting an immersive language of texture and motion.

From Jacob Long:
This record was made over the course of the most emotionally difficult and stressful year in my life thus far. As such, it is both a reflection of that experience and also something that gave me space to begin working through issues to see a way forward, to a better place both psychically and physically.

An idea that was also central to my thoughts while creating the album was the concept and reality of being out in the city at night, wandering around a large urban area after dark - the contrast of empty streets but with life still going on all around, and the openness and possibilities that can bring. This music was an attempt to capture that feeling.

Collection of classic Skip Proof baby !!!

Next up on Polytechnic Youth, is the ace new album (a first on vinyl following online only releases previously) from the fabulous MORPHOEX.

Based in Rouen, France, and started in 2000, Morphoex is the project of Isthmael Baudry- a musician and photographer (his sleeve artwork adorns the jacket here, adapted by PY chum Nick Taylor) who presents the mighty Soviet System' for Polytechnic Youth this August.

Beautiful synth soundscapes that fluctuate between -on one hand- the icy synthpop edge of early Mute, yet build into ominously darker, beat driven, industrial rhythms that recall Throbbing Gristle and early Cabs, though with a succinct French flavour that tips it's hat towards some of the work of Heldon / Richard Pinhas via the revered sounds emanating from the Berlin School.

Describing his music, Isthmael says 'Soviet System' incorporates compositions that arose from the combination of analogue, organic and composite sounds, without any intervention of computer, sampler or sequencer in it's creation. It's goal: bruitist and melodious, atmospheric yet dancey, ice-cold yet mesmerizing. It is a concept album, each individual is prisoner by a system: a bureaucracy, the family, the technology....We are not free....The freedom has a cost...But the dream is non paid...'

The album is released on vinyl by Polytechnic Youth, this August in a pressing of 300, (sure to go quick) and digitally via the Morphoex bandcamp page.

Two years on from the release of his debut album called 'Natureboy', Dario Rojo Guerra, aka Natureboy Flako, is back with a new six-song Mini Album EP on Five Easy Pieces.

Two years on from the release of his debut album called 'Natureboy', Dario Rojo Guerra, aka Natureboy Flako, is back with a new six-song EP on Five Easy Pieces. 'Natureboy Flako' is a self-titled collection of music culled from over 200 recording sessions since Guerra moved from London to Berlin in late 2015. It's the first work that unites the artistic identity of Flako with that of the Natureboy persona at the heart of his debut album, and is the debut for a new artist name: Natureboy Flako. Moving away from the live instrumentation of his debut LP, 'Natureboy Flako' is the most electronic-sounding record he's made, using old analogue equipment such as Korg's MS-20, ARP Odyssey and Roland's SH-2000 synthesisers, as well as new instruments such as Arturia's MiniBrute. Where previous songs relied on overdubs, most of these songs were recorded in one take, with little overdubbing, making it his most live record to date. As with 2015's album 'Natureboy', the six-song EP sees Guerra searching for musical balance. Both sides of the record offer contrasting energies, with the A-side featuring some of the heaviest tracks he's made and the cinematic B-side made up of more reflective compositions. However, both sides are equally propulsive, with driving arpeggios forming the backbone of much of the EP.

Dark Fat is a celebration and documentation of 10 years of NWW shows but to call Dark Fat a live album is far too simplistic. It is an entirely new recording constructed by combining the most interesting moments of the past decade into unique tracks. We have M.S. Waldron to thank as he is archival commandant of the NWW oeuvre and since 2006 has recorded everything and we mean EVERYTHING. He has recorded all the live shows, sound-checks, rehearsals, off-stage events and even covertly recorded the private conversations of the band. These recordings have been studiously and lovingly crafted into a unique sonic tapestry by Waldron and Stapleton with delicate embroidery and filigree added by Liles and Potter. This is now spread over six sides of luxurious vinyl and encased in a box with a gatefold insert, all featuring the art of Steven Stapleton aka Babs Santini. Listen in the Dark and soak up the Fat.

Over the last twenty give years Robin Rimbaud - Scanner has traversedthe experimental terrain between sound, space and image, connecting a bewilderingly diverse array of genres - a partial list would include sound design, film scores, computer music, avant garde, contemporary composition, large-scale multimedia performances, product design, architecture, fashion design, rock music and jazz.With a catalogue busy with commissions, soundtracks and studio releases it's extremely rare to find a new studio recording, so The Great Crater stands out by measure of this. Invited by the label Glacial Movements to create a new album he focused on the tale of strange circles appearing in Antarctica. Flying overhead in 2014 a group of scientists spotted a circular formation of 2km diameter. For a time it was thought that it could be the scar left by a crashing meteorite but in fact it was quite another story. Investigating the circle on foot in January 2016 scientists found a 3metre deep depression, with vertical well-like shafts in the middle. Drilling into the ice they found multiple lakes beneath the surface, as part of a 'hot spot' or melting ice sheet. There is growing concern that it could lead to further disintegration. The album explores an immersive, fragile and moving exploration of themes inspired by this simple tale. At moments the ice moves and a sonic scar if formed, at others the chill wind blows across the exposed water. The Great Crater offers up the voice of a unique composer in an ever unsettled global landscape.

Robin Rimbaud, alias Scanner (1964, London, UK) is a composer whose work traverses the experimental terrain between sound, space and image, creating absorbing, multilayered sound pieces that twist technology in unconventional ways, connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music.Committed to working with cutting edge practitioners he has collaborated on projects with Bryan Ferry, Wayne MacGregor, Merce Cunningham, Mike Kelley, Miroslaw Balka, Torres, Michael Nyman, Carsten Nicolai, Steve McQueen, Stella McCartney, Laurie Anderson and Hussein Chalayan, amongst others.He scored the hit musical comedy Kirikou & Karaba (2007), designed the sound for the Philips Wake-Up Light (2009), and campaigns for Nike Hyperfuse (2011), Chanel (2012), Sprint Telephones (2012) and Stella McCartney (2016). For the UK Olympics Scanner scored The Big Dance in Trafalgar Square for 1000 dancers and the re-opening of the Stedelijk Museum, Amsterdam, in the company of Queen Beatrix. He continues to tour his show Live_Transmission: Joy Division Reworked, a striking audiovisual show with Heritage Orchestra. In 2014 he was Visiting Artist at MIT in Cambridge USA. In 2015 he premiered his score to Dutch National Ballet's and ISH's new production Narnia: The Lion, The Witch and the Wardrobe, and in 2016 installed his Water Drops sound work in Rijeka Airport in Croatia, Ghosts at Cliveden National Trust UK, and scored the world's first ever Virtual Reality ballet with Dutch National Ballet in summer 2016. His work can be heard on permanent display in the Science Museum London (Sound Curtains), the Raymond Poincaré hospital in Garches, France as part of the bereavement suite (Channel of Flight), The Darwin Centre at the Natural History Museum London and the Northern Neuro Disability Services Centre in Newcastle UK (Turning Light). Sedition Artworks distribute his digital film works online. He has presented projects throughout the United States, South America, Asia, Australia and Europe, and performed and created works in many of the world's most prestigious spaces including SFMOMA USA, Hayward Gallery London, Pompidou Centre Paris, Tate Modern & Tate Britain London, Palais des Beaux-Arts Lille, Kunsthalle Vienna, Bolshoi Theatre Moscow, Hanoi Opera House Vietnam and the Royal Opera House London.

DJ Krush commemorates his 25th anniversary with Kiseki, a brand new collaborative album which reaffirms his status as Japan's original beat master. There's every-thing we've come to expect from the man, heavy breaks with fierce raps, serene soundscapes and seamless pro-duction. All tracks produced by DJ Krush. Disc One

Mitú are the electronic music duo of Julian Salazar, ex-guitarist of Bogota's live-electronic band Bomba Estereo, and Franklin Tejedor, a master percussionist of Colombia's great rhythmic traditons. Together they make music that draws from a wide spectrum of electronic infuences, anchored to the percussive,
tribal beats of their natve Colombia.
In a break with the group's tendency to record albums in relatvely short tme frames, the album was recorded over a longer period, giving greater importance to the sound recording of ideas at the tme of their concepton and less importance to post-producton.
This tme around, Mitú took the tme to let the record mature in the studio and get the ideas to come together, making an album in which the sound is far removed from that of their previous records, almost totally electronic and minimizing the acoustc parts, conceived with the intenton of being performed live in its entrety. As such, the album has a frenetc quality that captures the raw excitement of the live shows the band are famed for.

REPRESSED !!
Jerking programmed instruments on F.T. with classical undertones... Lifted as you like...TIP

Performed at IKLECTIK, London SE1 on 11th May 2017
Concert curated by Eduard Solaz and supported by Morley College & The Engine Room 2017
Recorded and mixed by Jeff Ardron of St. Austral Sound

Philip Jeck studied visual arts at Dartington College of Arts in the 1970's and has been creating sound with record-players since the early 80's. He has worked with many dance and theatre companies and played with muscians/composers such as Jah Wobble, Steve Lacy, Gavin Bryars, Jaki Liebezeit, David Sylvian, Sidsel Endresen and Bernhard Lang.

He has released 11 solo albums, the most recent "Cardinal", a double vinyl release on Touch. "Suite", another vinyl -only release, won a Distinction at The Prix Ars Electronica, and a cassette release on The Tapeworm, "Spool", playing only bass guitar. His CD "Sand" (2008) was 2nd in The Wire's top 50 of the year. His largest work made with Lol Sargent, "Vinyl Requiem" was for 180 record-players, 9 slide-projectors and 2 16mm movie-projectors. It received a Time Out Performance Award. Vinyl Coda I-III, a commission from Bavarian Radio in 1999 won the Karl Sczuka Foderpreis for Radio Art.

Philip also still works as a visual artist, usually incorporating sound and has shown installations at The Bluecoat, Liverpool, Hayward Gallery, London, The Hamburger Bahnhof Gallery, Berlin, ZKM in Karlsruhe and The Shanghai and Liverpool Bienalles.

Philip Jeck has won the Paul Hamlyn Foundation Award for Composers 2009. A presentation ceremony took place at The Royal Institute of British Architects, London, on 9th November 2009.

He has toured in an Opera North production playing live to the silent movie Pandora's Box (composed by Hildur Gudnadottir and Johann Johannson).He has also worked again with Gavin Bryars on a composition "Pneuma" for a ballet choreographed by Carolyn Carlson for The Opera de Bordeaux and has recently made and performed the sound for "The Ballad of Ray & Julie" at the Everyman Theatre, Liverpool.

In the words of Mojo magazine "this is music that continually slips away from you even as you chase down its essence" and due to the highly limited nature of this re-issue we'd have to agree! Do not sleep!

The fifth UNKLE full-length is here! As per usual with an UNKLE record, James Lavelle is joined by a whole swathe of guests, from Mark Lanegan and ESKA to members of Primal Scream, Queens Of The Stone Age and The Duke Spirit.

After a rollercoaster twenty-five year career as an artist, curator and tastemaker, James Lavelle returns with UNKLE's fifth studio album: The Road. In the twenty years since UNKLE's debut, Lavelle has been prolific. He created three studio albums with UNKLE (Never Never Land, War Stories and Where Did The Night Fall), a host of critically acclaimed film scores, and curated a series of art exhibitions through Daydreaming with... most notably, the hugely successful DayDreaming with Stanley Kubrick exhibition at Somerset house.
I hadn't made a record in a long time, and the incarnation of UNKLE had changed in that now, it was me on my own. For that reason, I wanted to make a record that I hadn't been able to before, going back to the roots of where I came from, with a foot in modern London'. After a productive trip to the States, Lavelle returned to London to add the finishing touches to what was shaping up to be another classic UNKLE record. Lavelle then managed to conclude a twenty year conversation with Primal Scream's Andrew Innes, as the pair finally got together in the studio. Innes plays lead guitar to the album's title track 'The Road'. Another first for Lavelle was a collaboration with Planet Funk's Gigi Canu and Marko Baroni, who along with Duke Spirit starlet Liela Moss, contributed to 'Sunrise (Always comes around), UNKLE's reinterpretation of the summer anthem.

András cleans out the garage with new alias House of Dad - a project that's both a dedication of love and a constructive criticism. Recorded at his suburban family home, warmed by ducted central heating and microwaved frozen meals, this first release on H.O.D. Records pays homage to his plumber father.
A darting network of pipes, toilet supply lines and garden hoses, its a steady flow from the man-cave dwelling 'Entrance To The Garage' to 'Water Diviner's mystical bleep. 'Hard Working Man' tightens the sample-based house music cliches clockwise; it's HardYakka affirmation breaking in half under the weight of descending pianos and a gently whispered declaration of love. The blissfully content 'Stereo Dunnies' and 'Roof Metal Corrosion' reflect on a job well done before the working week knocks off with 'POETS Day'.

Little is known about this south pacific recluse. Far from his australian hometown, he now evolves close to trees, birds and spirits of Meganesia's remote Coral Sea. Abstract, Electronica, Dub, Lo-Fi, Ambient, Downtempo, Ethnic field Musics or experimental hip-hop... qualify the analog music of this
australian musician is a difficult exercise. Oceania, his last album under the alias of Tropical Hi-Fi, will be soon available on vinyl on UK imprint Emotional.
Cover painting by Tokio aoyama

Little is known about this south pacific recluse. Far from his australian hometown, he now evolves close to trees, birds and spirits of Meganesia's remote Coral Sea. Abstract, Electronica, Dub, Lo-Fi, Ambient, Downtempo, Ethnic field Musics or experimental hip-hop... qualify the analog music of this
australian musician is a difficult exercise. Oceania, his last album under the alias of Tropical Hi-Fi, will be soon available on vinyl on UK imprint Emotional.
Cover painting by Tokio aoyama

While the story of Jah Wobble, from post-punk bassist to Tube driver to world music explorer is well documented, the fact he founded his own label, Lago Records, at the age of just 23 years old has oft been overlooked. Lago Records was set up by John "Wobble" Wardle soon after his acrimonious departure from college friend John Lydon's Public Image Ltd band at the end of the recording of the Metal Box sessions. Although still young, Wobble had already experienced a music career most would dream of and was experienced enough and singular in his thinking that while now working with both Island and Virgin Records, he did not want to be constrained by the traditional label / artist format and release schedule. With a mindful of music ideas and working with a group of friends and musicians, Lago allowed Wobble to express his wider musical interests that now forms it's own unique document in time. This release takes a collection of songs from the 6 EPs released on the label between 1981 and 1985 and captures some of his best ever music, covering a wide palette including dub, jazz, spoken word and even some pop sensibilities, all held together by his instantly discernable bass rumble. The driving post-punk-dub of Invaders Of The Heart is clear a link to the PiL years, while the psychedelic nature of Long Long Way and Fading offer long, drug-induced meditations. Nocturnal and East take this further with long-form instrumental experiments, before both Voodoo and the now highly sought after Blowout take in (Balearic) pop touches that the mid-80s were beginning to encapsulate. Packaged with DJs in mind as much as for the "Heads", the Lago Years double pack is a revelation to those who thought they knew the Jah Wobble sound and offers a perfect framing of a unique musical journey.

Much anticipated series of 3 new 12's from SBTRKT - SBTRKT launches 'Transitions', a collection of six instrumentals written and produced over the past year that reference the creative process that led to his debut album

"This is music written over the last year, whilst recording for my second album. Much of the music I released before my debut album was instrumental and I want to continue to share this side of the music I make. This series of tracks is titled TRANSITIONS. " - SBTRKTs

The visionary talents of multi-instrumentalist Zach Witness have sprouted full life in this world, lending his sonic touch to the bulk of Erykah Badu's latest album, But You Caint Use My Phone (Motown Records). This project was brought to life with Erykah Badu at the Badudio and World Witness Studios in Zach Witness' hometown, Dallas, Texas. This project put him on a unique trajectory, harnessing his intricately designed fusion
productions into the periphery of an entirely new audience around the world. His forthcoming debut EP, Electric Revival: Rise of an Outkast Nation, is the first project to find the light of day after this expansion phase, initially created as a birthday gift to Zach Witness' friend and collaborator, André 3000.
The catalyst behind the creation of Electric Revival has a very specific initiation point. During the recordings for But You Caint Use My Phone, Erykah Badu called on André 3000 for collaborative assistance. This would result in the album's last track, Hello,' created at the home studio Zach Witness has lived in his whole life. This moment in time compelled Zach Witness to create an offering for André 3000, and this was in the
form of an entire body of music.
Electric Revival takes on the stories of the lives entangled around
society's most crippling and hopeless of situations. The social and
political intentions of the EP paints a very defined purpose in this context.
Experience the transformative sounds of Zach Witness and his debut manifesto.

Dual Mono is the third Barreca Leimer collaboration. The process used for producing Dual Mono was designed to destabilize established habits and predilections in favour of responding to the music in at least subjectively new ways. It was also designed to reduce the illusion of control, to become more responsive to and accepting of unpredicted outcomes, and to give the music—as much as possible—a voice less tampered with. Each piece for Dual Mono was authored by only one of the participants, the other receiving MIDI data and being limited to revoicing the composition. With a general goal of maintaining a result that was somewhat, though not purely, minimalist in sympathy, each piece was then assembled in its final form by the originator, now limited to controlling relative levels, crossfades, editing and processing. The final fifteen pieces that span two CDs embrace a range of emergent, generative and traditional forms that express a calm, informed ambience amid unsettled, shifting soundscapes. Of an earlier collaboration, Textura stated the sheer density of sound presented in representative settings such as 'Loess', 'Talus', and 'Oram' is incredible, and one comes away from Field Characteristics convinced that the claim regarding the hundreds of sounds involved in the recording's presentation is clearly fact, not hyperbole.' Barreca Leimer

Rocksteady Disco (the deep and jazzy Afro-house brilliance, Standing Still Is An Illusion
Balearica, neo-classical, an award-winning film score (documentary Detropia) and even a dash of bassbin-bothering grime.

On his first Claremont 56 10", French is in full-on, head-in-the-clouds, feet-on-the-sand mode. The A-side boasts the soft-spun delight that is Sandbar Caviar', a gently undulating exercise in aural bliss built around sparse drum machine
hits, pitched-down Balearic disco aesthetics - think bubbly bass and humid flashes of Afro-influenced guitars - and the kind of fluttering synthesizer melodies that would once have been described as new age' in tone.

The sticky, tropical-tinged humidity continues on the flip, where Inland Island' showcases French's love of dub disco bass, atmospheric field recordings, bongo-laden South American rhythms and the kind of hazy, tactile vocals that seemingly drift between the speakers on a cloud of pungent marijuana smoke. It's an intoxicating and loved-up experience, you can dance if you want to, but it sounds just as good if you're lying flat on your back.


As Claremont 56 continues to celebrate its first decade, founder Paul Murphy remains on the look out for talented producers to add to the label's slowly expanding family of artists. The imprint's latest debutant, Blair French, is hardly a newcomer to music production, though, having put out his first release - under the Dial81 alias - this time 10 years ago.

French is something of a musical chameleon. Over the years, he's been a member of numerous musical collectives - most notably Cosmic Handshakes and Formless Figures - established his own well-regarded DIY record label (Fat Finger Cosmic) and delivered material on imprints including Delsin, M1 Sessions and, most recently.

The Detroit based musician, producer and graphic designer is also notoriously difficult to pin down. Trawl through his releases and you'll come across blissful ambience, experimental hip-hop, skewed techno, hazy deep house, beach-friendly