Beats Novedades

There are not many conventional rules in the world of Dutch DJ/producer DJ Marcelle/Another Nice Mess, or they have to be her own, but which she is more than happy to break at any time she fancies. For the past 15 years she has been travelling around Europe and beyond, playing her brave three turntable sets in front of often both stunned, surprised and euphoric audiences. She is an original, skilled mixer, with a very distinctive style of her own, avoiding most DJ-cliches and stale rules.

Marcelle - who believes in using strictly vinyl - creates every gig fully improvised sets, containing the latest leftfield sounds in new electronic, world and other independent music, merged and mixed with a skill rarely seen in international 'beat-boring-matching' (as she calls it) days. From the start she has always been much, or even more of, a musician as she is a DJ, as amongst others was recognised by Faust founder member Hans-Joachim Irmler, who since 2008 has released four Marcelle albums on his Klangbad label.
'In The Wrong Direction', her debut 10'' for the Munich label Jahmoni released last autumn, was typical for Marcelle's way of thinking. The heavy bass, combined with strange rhythms, odd voices and self-irony about her limited sense of direction in real life, made it both an unusual but not less fitting club record.
Now, on follow-up 12'' EP 'Too', she surprises even more. Instead of fiddling about on computers and machines for months on end like so many producers do, she produced four fresh new tracks in the space of only a few days.

The title of opener 'Too Long' shows Marcelle's sense of self-irony once again. But in fact, the almost 12 minutes of this track, are worth every second. Over a driving, almost krautrock-esque beat (but, being a Marcelle record: not quite), there's some of the maddest percussion ever put on wax. The relentless bass and very strange sounds (is it a woman, an animal) complete the song which, judging from the audience reactions it got when the dubplate version was played; make it a perfect, addictive track to play in every open-minded DJ-set.

'Too Trumpety', the opener on side B, was already produced before Donald bullied his way to the US presidency. This very danceable track uses horn sounds, orchestra tuning and train sounds as if it couldn't have been done otherwise: Marcelle strongly believes in improvisation and the power of coincidence. Not only with the now very fitting 'Too Trumpety' title, but also the train sounds on this track were coincidentally on another track of the recording but they fitted the mood of the song perfectly.

Elsewhere on the record Marcelle remixes 'Too Long' (wittily retitled 'Too Short Dub') and 'Too Scratched' is an abstract, short track made out of broken, damaged and scratched records. To honour one of her influences, she later added a Lee Perry sample (greeting the punks - Marcelle was in 1976 one of the first and certainly youngest punks in the Netherlands!), only realising after she had done so that Perry's nickname 'Scratch' is more than fitting for the title of the track. Once again - the joy of coincidence!
On stage and on her records Marcelle transcends a sense of openness and a feeling of freedom, which often have her described as 'totally enriching', 'a true ear opener', a real 'pioneer'.

MAPA is a project of Paul Wirkus and Marcin Dymiter.
Nineteen years after the release of their legendary album "Fudo", MAPA strikes back with some fresh stuff combining punk, jazz, electro-acoustic music and elements of instrumental hip hop.
In 2017 MAPA reduces the avant-garde jazz and punk to pure energy. The new material is characterised by simplicity and a mixture of slightly perceptible sense of humour and musical eloquence.
This minimalistic set-up consisting of a few selected synthesizers allows for a complete portrayal of both musicians' personalities. They perform vital, full of unexpected twists pieces based on simple riffs, always open to interpretation. Economical use of sounds in punk rock, raw minimalism of the street sounds and flexible riffs constitute the formula of the material of Mapa's album "No Automatu".

MAPA is a project of Paul Wirkus and Marcin Dymiter.
Nineteen years after the release of their legendary album "Fudo", MAPA strikes back with some fresh stuff combining punk, jazz, electro-acoustic music and elements of instrumental hip hop.
In 2017 MAPA reduces the avant-garde jazz and punk to pure energy. The new material is characterised by simplicity and a mixture of slightly perceptible sense of humour and musical eloquence.
This minimalistic set-up consisting of a few selected synthesizers allows for a complete portrayal of both musicians' personalities. They perform vital, full of unexpected twists pieces based on simple riffs, always open to interpretation. Economical use of sounds in punk rock, raw minimalism of the street sounds and flexible riffs constitute the formula of the material of Mapa's album "No Automatu".

Special Limited Edition (750 copies) Picture Disc of OMD Live at the Museum of Liverpool. Originally only available via the bands own store a limited number are available for stores

Dazzle Ships live at the Museum of Liverpool Picture Disc - the live recordings of the Dazzle Ships tracks performed at the Museum of Liverpool.

The band release their brand new studio album The Punishment of Luxury' in September

The Neon Judgement hail from the small town of Leuven near Brussels, Belgium and gave birth to the New Beat and EBM scenes worldwide with the release of their first two cassettes 'Suffering' (1981) and 'TV Treated' (1982). Always a consistent duo of Dirk Da Davo (synthesizers, vocals) and TB Frank (guitar, drum machine, vocals) The Neon Judgment worked in a parallel world alongside Suicide, Cabaret Voltaire, and the Deutsche Neue Welle.

In 1983 they released the infamous 4-song 'Cockerill-Sombre' EP containing the dance-floor smash 'The Fashion Party' on Anything But Records. Dirk Da Davo says, 'First we recorded and mixed the drum parts and effects on 4-track, then we bounced this mix to 2 tracks again what left us with 2 more channels to use for vocals and additional instruments.' Veering between minimalistic industrial drones, odd new wave-ish synth pop and dance music, underlain by cold, mechanical rhythms. The band combine brash and seedy lyrics, with raw synthesizer stabs and repetitive drum machine beats both aggressive and danceable. 'Cockerill-Sombre' was recorded in a small basement room under the watchful eyes of Ludo Camerberlin from A Blaze Colour.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a black and white photo of the duo performing live. Each copy includes a 2-sided 11' square insert with photos of the band, lyrics, and liner notes by Dirk Da Davo.

REPRESSED !!

EXO2 is a delicious selection of exotics that will grow on you the more you water them and give them the fresh grounding of your soul. May we kindly invite all listeners to adjust their velocity and let the music take over for there is a tantalizing glimpse of another world to be explored in each rhythmic harmony. Enjoy the journey!

There is a sense of urgency increasingly infecting the human condition, fragmenting our attention span, accelerating our needs and often influencing our motives when making creative decisions. The result is a lack of dynamics, there is no ebb or flow, its 'go' time, all the time. Electronic music is one of the clearest examples of a widening division between great art created in a deeply imaginative vaccum and the soulessly formulaic and branded product that serves the impatient masses. What draws the ESP Institute to Benedikt Frey is his ability to operate on the fringe, outside the constructs artists constantly channel themselves into—his art speaks a pure language that is realized by any means necessary, a process devised solely to articulate his own message, one delivered with patience, never rushed nor dictated by the outside world. Artificial was written and produced over two years, tirelessly sculpted into a sequence abstract pieces that are fiercely independent but accumulate layers of meaning when collaged. It is electronic and rhythm-based, but never reliant on any prescribed instrumentation, arrangement or expecatation. This is our idea of well conceived and executed album; not simply a collection of tracks but a complex narrative that unfolds over peaks and valleys, pulling the listener into emotional corners before leaving a residual impression. Some may describe music very well in words, but there is always something lost in translation—a story only the music itself can tell.

Claude Speeed returns to Planet Mu, two years after the 'Sun Czar Temple' EP, with his second album 'Infinity Ultra'. He describes the record he's been creating since he started making computer music as one "conceiving an interior territory: an abstract space to process the oppression, confusion and insanity of the contemporary age, and to formulate an honest emotional and artistic response - a psychic jumping off point into an uncertain future." 'Infinity Ultra' takes inspiration from sleep paralysis, monumental artworks, children's anime, abandoned places, ghostly rave pasts and terrifying silicon valley futures, and the limitless anger of the digital present. These influences have been channelled into an impressionistic burst of varied creativity: Shimmering VSTs, monolithic noise, euphoric blocks of colourful sound, trance stabs and the citrus rush of hardcore, towering drones, and skynet math rock - all rendered against cold, sinister space and nostalgic synth melodies. The album reveals the artist's Scottish roots, viewed at a hazy distance from his Berlin home - a series of memories of Glasgow's experimental psychedelic underground, its DIY rock scene and defiant club hedonism. These genre relationships are blurred and at times they contrast with audible brutality, the result is a hybrid, sculptured way of rendering music - minimal specifics, maximum emotions.

Claude Speeed returns to Planet Mu, two years after the 'Sun Czar Temple' EP, with his second album 'Infinity Ultra'. He describes the record he's been creating since he started making computer music as one "conceiving an interior territory: an abstract space to process the oppression, confusion and insanity of the contemporary age, and to formulate an honest emotional and artistic response - a psychic jumping off point into an uncertain future." 'Infinity Ultra' takes inspiration from sleep paralysis, monumental artworks, children's anime, abandoned places, ghostly rave pasts and terrifying silicon valley futures, and the limitless anger of the digital present. These influences have been channelled into an impressionistic burst of varied creativity: Shimmering VSTs, monolithic noise, euphoric blocks of colourful sound, trance stabs and the citrus rush of hardcore, towering drones, and skynet math rock - all rendered against cold, sinister space and nostalgic synth melodies. The album reveals the artist's Scottish roots, viewed at a hazy distance from his Berlin home - a series of memories of Glasgow's experimental psychedelic underground, its DIY rock scene and defiant club hedonism. These genre relationships are blurred and at times they contrast with audible brutality, the result is a hybrid, sculptured way of rendering music - minimal specifics, maximum emotions.

For anyone with their pulse on cutting edge music, Neel is synonymous with quality. He's one half of the critically acclaimed duo, Voices From The Lake (with Donato Dozzy), and here he teams up with his studio partner, Filippo Scorcucchi. The pair present a project called LF58 (named after Neel's mastering/recording studio in Rome) for our latest instalment in the Late Night Innominate series. Three untitled ambient tracks all created with modular synthesizers, full of emotion and technical brilliance. Also worth noting, side A is over 16 minutes of pure bliss!

Powell returns to the fray with New Beta Vol. 1 — seven upfront and disarmingly colourful tracks that harness a renewed energy following the intense period of production behind his densely
packed debut LP, Sport (XL, 2016). Thanks, perhaps, to a looser approach and influx of new ideas and machines, the results find him at his most playfully experimental and nuanced, revealing new aspects to his mongrel sound not heard in previous releases.
New Beta Vol. 1 will remind you of what made Powell's music so exciting in the first place — goofy, unhinged sounds sculpted into hard-to-resist and unpredictable arrangements — but in a brighter
rush of clashing tones and splintering rhythms that reinforce his roots in jungle/DNB, wave and early Belgian techno. The result is something comparable to a puckish take on AFX's mutant
Analords or Actress' discrete circuits.
This first volume (there may or may not be more) is effectively the sound of someone raised on all the raving music that the UK post-2000 and the internet has to offer. But rather than some
millenial emperor's new clothes, New Beta weaves its references obliquely throughout the record.
Whether in the curdled gob of chromatic acid opener Teddy, the clash of tart electro arpeggios and stepper drums of Freezer, or the off-the-cuff electro BEATdown of The Bust, Powell persistently transcends his influences in a way that's key to all his work and always thrilling to hear — proving how to do reverential without being derivative.
Despite the range of material on offer (this is more mini-LP than EP), it's testament to Powell's vision that they still sound like him overall. And if any one track sums up this distance from, and
consistency with, his early work, it's the rare beat-less outing of EP closer Electric Sheep, whose visceral, strobing formation betrays a burnt out and unusually sentimental aspect to an artist best known for all-out hedonism.
Cocking a wink at the upfront sonification and syncretic mutations of late '80s Belgian New Beat in both name and form, New Beta Vol. 1 identifies Powell as a more self-aware and emotional Johnny Bravo for electronic music in 2017, serving to subvert the 'roid-rage trudge of EDM and the prosaic mundanity of grid-locked line-dance music with a daringly screwball, anachronistic approach to making dancers feel strange in the rave.

Whilst on a Balinese surf safari searching for a secret spot where pink dolphins populate the line-up, The Hands would be my guide. I'd been warned he had recently been busted trying to purchase human flesh on the black market. Bombing through the jungle, The Hands hit play and the truck was bathed in Gothic Berlin toilet techno. "Holy shit," said I,'what is this' The Hands said, 'The Hands.' But what else was I to expect from an Austrian/Balinese techno cannibal —DJ Harvey

Seekersinternational sends dub into another dimension, a place where the laws of physics appear irrelevant. Formerly solid structures are made improbable and surreal, songs become dizzying, recursive mazes. But for all this weirdness, the Canadian producer has generally hung onto dub's loved-up feel. This cassette is different.

Appearing on Japan's Diskotopia, the RaggaPreservationSociety EP traces dub's sonics as they developed into ragga jungle. The manic style is sunk deep in the dance music consciousness. Hearing it get a cubist makeover is a bit like having familiar memories smashed up and reassembled as crazy paving: in other words, disorientating. Crowds of sampled ragga chatter vie for attention, repitched chords and cartoonish basslines hint at two (or more) different keys, and breakbeats and delay trails meet in gruesome pileups. Structures are fragmented and, thanks to the release's mixtape sequencing, it can be hard to tell what is "track" and what is "transition." Most are probably a bit of both.

The chaos is glorious, but the EP is made extra special by the moments when unexpected order emerges. Somehow, several of these tracks are, well, catchy. The best come in a run on the A-side: "SoundDedication"'s sliced piano chords and delirious chipmunk coos, into "DanceGwaan(EazeUp!)," whose skittish breakbeat is cut with tender synth chords, and then "NoCompetition"'s quiet storm sweetness, aided by twinkling Rhodes and a female vocal. On the flipside, "ChannelTwo(MurderousDub)" is just as good. A sliced vocal and bassline form an improbably singable hook, before tumbling into a big old sentimental piano breakdown. Or perhaps the word "breakdown" is redundant on this marvellously broken release.

1st solo album in 5 years, recorded, produced and written by Richard H. Kirk, founding member of Cabaret Voltaire, the album was constructed at Western Works, Sheffield, over a three-year period. Work began with recording on midi and analogue synthesisers before guitar and vocals (Kirk's first use of vocals in 10 years) were added. Kirk explains, A lot of time was spent on post-production, editing and then living with the material and I think it benefited from stepping back and then revisiting after doing other things.'
Although not an overtly political album, it's hard not to hear a reaction to recent years' world events in the overwhelming urgency of 'Nuclear Cloud' or '20 Block Lockdown' or in 'New Lucifer / The Truth Is Bad'. When questioned Kirk admits, It's not really a political album, but over recent years - during the recording - all manner of horrorshow events have cropped up and now we seem to be in a rerun of the Cold War with Russia back as the Bogeyman.' The album's title, Dasein (a German word meaning being there' or presence', often translated into English as existence'), is a fundamental concept in existentialism. Kirk explains culture succumbs to nostalgia in much the same way that an individual looks back wistfully to adolescence or childhood - the nostalgia is partly for a time when he or she wasn't nostalgic, just lived purely IN THE NOW.' In 2014, during the recording period, Kirk began work on Cabaret Voltaire live and so the two projects coexisted in tandem. Although Kirk's varied projects have always existed separate to one another, says Kirk, in the past some solo works served as a blueprint for what I did later with Cabaret Voltaire'. Billed as a performance consisting solely of machines, multi-screen projections and Richard H. Kirk, Cabaret Voltaire recently announced the first UK performance in over 20 years at the Devil's Arse Cave (aka Peak Cavern) in Castleton, Derbyshire on Saturday 29 April. Kirk will perform entirely new material for a performance relevant to the 21st Century with no nostalgia. RECENT PRAISE FOR RICHARD H. KIRK One of the UK's pioneering electronic agitators' - Electronic Sound In five decades of key-bashing and knob-twisting, Richard H. Kirk has remained at the vanguard of electronic music' - FACT ...decades of electronic innovation, forged in Sheffield' - Uncut
Kirk was toying with distorted realities from 1970s onwards' - Record Collector

All source material recorded in Gran Paradiso, July 2015 Engineered at Odd Phasing and Echoes, Amsterdam NL Photography BJNilsen BJNilsen is a composer and sound artist based in Amsterdam. His work primarily focuses on the sounds of nature and how they affect humans. Recent work has explored the urban acoustic realm and industrial geography in the Arctic region of Norway and Russia. His original scores and soundtracks have featured in theatre, dance performances and film. Celebrating 27 years as a recording artist Massif Trophies is the first solo release for Editions Mego. In 2015 he set off on a month long hiking trip in Gran Paradiso to explore the acoustic environments in the alpine landscape. Drawn to the monotonous and physical effort that mountains and high altitudes contributes, this became one of the main inspirations for the album, reflecting upon the perception of the landscape during several hours of physical difficulty, let alone rapid weather changes, horizontal thunderstorms and rock avalanches. It is also about the scope of details and perception of the path and the myth of the mountain as the accursed or sacred place. The five pieces contains narratives based on experiences and recordings from the trip.

The Ngashi tune is a long electro nagging to the big nothing,... Psychedelic acid Glassworks coming around supported by a 70's synth and glichy electro high frewqs breaks. Perfect wirling tune... A Hundred Thousant bringhs a crazy hundred frogs songs in the nite sensation... Electronic fucked up music ! LOVE !

Trip Hop, Hip Hop and Ragga versions...

Limited Repress !

New teachers join The Bass Academy:

UK droids Gods Of Technology (Phil Klein & Simon Brown) featuring Egyptian Lover, and legendary US producer Jamie Jupitor. Must have "Freak Seeker (L.A. Freax)" feat. The Unknown Lover (you'll probably know who's behind) and "Future Computer" sign two authentic Electro Funk pieces in the great tradition of the West Coast sound.

Phat Bass, vocoderized lyrics, sharp 808 drums, and irresistible synth melodies characterize these instant classics guarantee to put you in a circle. Come and take a lesson of music directly from the masters!

Lightning In A Twilight Hour is the new project from Bobby Wratten (The Field Mice, Northern Picture Library, Trembling Blue Stars) with Beth Arzy (The Luxembourg Signal, Trembling Blue Stars) and Michael Hiscock (The Field Mice).

For their fourth release, Bobby is joined by Anne Mari Barker-Davies (The Field Mice, Northern Picture Library) on vocals, and regular producer Ian Catt. "Quiet Actions" is a cassette only edition of 100 copies.

It features two brand new long-form compositions - "Abandoned Islands", whereby a repeating series of simple phrases relies on increased effects to achieve the movement within the piece, and "Suspended Animation" featuring the afore-mentioned Barker-Davies and a close mic-ed portable cassette player providing a subtle rhythm, a nod to the intended format. Both recordings were made in late February 2017 and both feature field recordings made in Liverpool in April 2016.

Upon its release 10 years ago, The Streets second album, A Grand Don't Come For Free was instantly hailed as another masterpiece to equal his initial clarion call, Original Pirate Material. Unavailable on vinyl for the best part of the intervening decade, Be With Records marks its second release by issuing Mike Skinner's electronic soap opera on this format.

Whereas Original Pirate Material was a record that garnered acclaim from the electronic/dance fraternity and the forward-thinking wings of the rock/mainstream press, A Grand Don't Come For Free swept the board in prompting critical praise.

This was the album that saw Skinner compared to the likes of Ray Davies and Paul Weller in evoking the glorious mess of everyday life. A striking concept album set to an inventive sonic backdrop, the seemingly prosaic tale of a young man unlucky in love (and, so it seems, money) is brought brilliantly to life in a barrage of astute lyrics, lurid tales and memorable hooks.

Deservedly awarded a 9.1 review from Pitchfork, the record sees Skinner reveal his most vulnerable self: Dry Your Eyes and Blinded By The Lights, in particular,manage to articulate painfully familiar feelings thatappeal to music fans of every hue.This record marked Skinner's creative peak, received international acclaim and, thanks to its distinctiveness, propelled its maker to the top of the musical tree.

VA CD compilation by all local producers from Tel-Aviv.

* Denver's Gila, a producer supported by Benji B on BBC Radio 1 from the outset of his solo career, debuts on Benji's Deviation label with new six-track EP, 'Pick Six'.

* First making waves as part of US rap group, Gorgeous Children, it was Benji's support on Radio 1 that first alerted XL Recordings to his intricate and abstract beat-making. It was through XL that he released his debut EP, 'Genkidama', in 2016 — a release that saw Gila score a support slot at Metro Boomin's sold-out show at Koko in London and earmark him as one of the year's most exciting breakout acts.

* 'Pick Six' builds on the territory explored in 'Genkidama' and sees Gila continue to toy with hardbody US rap production techniques and sound palettes, casting them into a hazy, tripped-out flux all of his own making. From the sino tones of fluttery, dreamscape opener 'Swirl Suit' to booming, 808 heaters like title-track 'Pick Six', this is an EP that sits firmly in its own lane, redefining the boundaries of rap inspired club music.

* Gila plays with atmosphere too, none more so on ghoulish and pensive, 'Psycho Dabber', or the rippling 'Frost On Leaf', spotlighting a deftness in and around the rougher edges of his work that lends itself to being enjoyed both in and away-from-the-club.

* 'Pick Six' has become something of a club phenomenon, inciting a wave of intrigue everytime it gets dropped in a dance; until now, only a handful of DJs (Benji B, Flying Lotus, Hudson Mohawke, Kode 9) have had the pleasure of playing it.

* A natural fit at Deviation, 'Pick Six' marks the best yet from Gila — a producer very much on the rise.

* Ahead of his representing Turkey at this year's Venice Biennale, Subtext present's Istanbul based Cevdet Erek's first full length LP: 'Davul'. The title refers to the instrument performed by Erek, a large drum with many names, common from Eastern Europe to the Middle East, known variably as a daouli (Greek), tapan (Macedonian), dahol (Kurdish), or tabl (Arabic) to cite a few.

* Erek plays the drum with his own unusual method, utilising a large soft mallet alongside various smaller implements to beat and distort the skin of the drum, tuned lower than normal, taking advantage of being able to walk around studio or installation spaces with the instrument. Erek acquired the drum from a Roma musician, proceeding to play it in private for years where he developed this new textural approach, integrating the instrument into his A Room of Rhythms installation piece at Istanbul Biennial, 2015.

* Comprising extracts culled from hours of solo drum improvisations recorded over two days in Berlin, 'Davul' features no editing or overdubbing. At times Erek describes 'playing to get the negative and aggressive away from inside of me, hoping that I could do the same for the other people surrounding me.' He refers to a shamanic history of healing rituals - although the davul is most commonly used for weddings, dances, and celebrations. 'Of course the aesthetics of dark electronics and noise that I've been exposed to for decades informs the overall feel as well,' adds Erek.

* Over seven improvised pieces Erek conjures a massive variety of uncharacteristic sounds and colours from the drum, from deep scrapes and grinds to heavy rubs and drones, creating complex rhythms. Experimentation with rhythm, meter, and silence has always been at the core of what Erek does - from his work as a conceptual artist, presenting work at the likes of dOCUMENTA, to decades as the drummer in Turkish experimental rock band Nekropsi - but 'Davul' is his purest statement-of-intent to date; a raw and hypnotic exploration of flow and dynamics.

* Bio: Cevdet Erek was born in Istanbul in 1974, where he would initially study Architecture. Originally formed in 1989, Erek has also been the longtime drummer with Turkish experimental music stalwarts, Nekropsi. After completing his Masters in Sound Engineering & Design at ITU¨ MIAM Center for Advanced Studies in Music, Erek's installations and performances have been presented far and wide, including dOCUMENTA, Sydney Biennial, and Istanbul Modern. He's also worked on sound and music for film, most recently contributing original music and sound design to Emin Alper's 'Frenzy' (Venice International Film Festival - Special Jury Prize, 2015).

Idm sounds, remixfull, offering IDM, ambient, Drum & Bass and even abstract hip hop... witch is unusual on Hymen. The full LP gives a big variety of music, all top quality. A true Hymen Records product !

Electronica nice little melodies in a non-dark ambiance : Electronca music made of complex melodics loops combinated and drilling breaks... Superb and precise.

Micromanic is a colossal slab of percussive energy composed and performed by Berlin based Matti Gajek. Micromanic begins with tentative steps, which soon morph into a chattering electronic birdsong before giving way to an assertive, hammering bassline. The structure eventually crumbles into discordant noise and echoes, eventually giving way to something gentler and almost bucolic. Gajek weaves a complex and varied narrative with absolute technical aplomb, resulting in an experimental and hypnotic recast of Krautrock. Gajek is signed to Monkeytown Records and recently toured with Chris Clark. He is also a member of the freshly formed New Composers Collective (NCC) together with Andi Toma, Jan St. Werner and Michael Rauter.

Ant6-en back to the Synth-wave roots , with a full album of electr-indus featuring The Horrorist remix... a banging insane tune !! Its good to hear a label coming from these dark ages of this electronik music producing this style again... no nostalgy ! Just history !!

Beautiful packaging will welcome you at first into this precious medium ambient mystical album. Organs and horns, violins echos and SCIFI ambiances...A sdelicate space travel full of sound poetry.

Following 2015's remarkable Yellow Bell, Jasmine Guffond finally unveils her sophomore album
for Sonic Pieces: Traced develops a broad sound spectrum that goes far beyond her previous
efforts.

Influenced by digital surveillance technologies, Guffond examines data generated from facial
recognition systems and global monitoring networks and translates their algorithms into auditory shapes. She draws sonic portraits that manage to capture what normally eludes human
perception turning peripheral data into deeply engaging compositions. These pieces unfold through shifting drone patterns interspersed with refined cut-up vocal snippets. Commanding
bass pulses are counterposed against assemblies of beats and subtly measured guitar. Emotionally suspenseful, the album alternately rises to intense highs that descend into soundscapes almost trancelike in affect. Collectively, the tracks on Traced attest to Guffond's profoundly sensitive approach to communicating contemporary ideas re-imagined as intricately inventive tonal
possibilities.

Traced is a living recording that sounds like something we are yet to encounter. It suggests humanity at the spot it has aneuevered itself into: surrounded by machines, humans have simultaneously become the traceable components of a much wider network. The album's success lies in its ability to transform socio-technological observations into driving and compellingly expansive sonic structures.

Deluxe vinyl with gatefold sleeve with 8-page booklet & printed inner sleeve

Mixing abstract hip-hop and house, Blutch's style is mind-blowing and striking, with touches of groove and heat. Borrowing from Pépé Bradock, Francis Inferno Orchestra,Cuthead, Andrés, Shigeto and Massive Attack, Blutch has forged a unique musical identity all along his career, always with this strong desire to combine several universes into a single entity.In January 2015 Blutch revealed his creative genius with his first EP, Equilibrium. He will soon revisit a voluptuous set mixing trip hop, the softness of electronica and a hypnotic deephouse. (r)equilibrium unites 9 artists in one project that representsBlutch' diverse musical spectre.Friends, idols, people who we loved to collaborate with, spend time with, get to know better. The (r) stands for the remix, the reinterpretation of Blutch' EP Equilibrium.Each artist gives new life to one of the tracks, spicing them up to their liking. Cutheadtransforms « Skyview » in a straight-up house floor killer while Maxime Dangles takes « Chocolates & Hamburgers » to gloomy, cold electronic heights. Between these two extremes the music gradually and cleverly evolves track by track. Melodiesinfonieopens up in complete serenity with his take on « A. » which takes us straight into summer with our feet in the sand. Tito Wun follows up perfectly with his version of Wildstar' that is stacked with groovy samples. Next up is Keroué, member of the band Fixpensill. He puts his rhymes on a stellar edit by YWNWA. Jenovah choses to take Deep Diving' on a bass-driven path while Pavane sees and raises that with an orchestral version of Anyoma. It's up to the brothers Ark & Pit Spector to close out the EP by taking « Elis » into deeper territory.The tracks subtly follow each other up to tell a consecutive story. Thanks to the music ofBlutch, these 8 tracks stay connected on this diverse but coherent EP. Driven by our sense of partying and our willingness to meet the people we have been sharing our music with over more than a year, we decided to throw 4 release parties, hostingCuthead, Pit Spector, Tito Wun and Jenovah, who we hadn't met before. Sold out nights, balloons, jokes, fun and groove. Really proud of the project in general, the artists' work and our flawless casting. The project has forged bonds between artists that wanted to continue their collaborations, Blutch and Cuthead will now even be playing back2back at Festival Astropolis July 2nd .

Since '87 a 13 year old Jan Svensson AKA Villa Abo has been the back bone of Swedish electronic experimentalist group Frak and behind one of the biggest inspirations for Butter Sessions, Borft Records. As always, Jan keeps pushing the boundaries on this 4 tracker.

' Kicking it off, 'Just a 309' is a stripped-back rough and ready house track in true 90's Borft style.
On 'Mission Just Pam Pom' we are blasted with space zaps and bizzaro chords melted together with an irresistible beat and SFX from tomorrow.

The weird-o-meter is stepped up a few notches on the B Side with the sluggish yet hypnotic burn on 'Separated Together'.
A bonus collaborative effort on 'Pony-Flute' by Jan and another Frak member Duo J encapsulates us with a dramatic introduction of flute like synths and dark atmospheres taking us into the underworld...

This is the first ambient release from ASC on Auxiliary, since 2011's collaborative album with Sam KDC - Decayed Society. As with the majority of ASC's recent work, this release continues the theme of his fascination with space. The term 'Trans-Neptunian Objects' refers to dwarf planets and asteroids that lay beyond Neptune, and are usually found in the Kuiper Belt. With that being said, you can fathom a guess that this album is seriously deep space ambient, and you wouldn't be wrong. A total of eight tracks spanning 73, which take you to the deepest regions of our solar system.

A somnambulant journey through psychedelic bedroom fantasy-scapes, Glare is Roe Enney's first proper LP after only a few under-the-radar cassette releases on Phaserprone, Discriminate and Piero since 2011. Recorded over the last couple years, Glare unfolds like a manifesto on the devolution of communication. An experiment of thresholds: electronic, political, poetical, Roe Enney touches on the likes of Tara Cross or Anne Clark but only briefly before hurtling into a subterranean world of closed-off obsessions.

"The electronic artist is always enmeshed in a battle of thresholds. What does one do This is because she, the electronic spirit, is always in the process of change. This spirit is never stable, it is tenuous. It is a moving hierarchy, a royal island with a v. real topography, with its own guard, observation deck, casino. The music on this record firmly pledges allegiance to this island, and yet it is out somewhere on the shore, perhaps 'dreaming of elsewhere.' Yet one cannot help what one is. Perhaps the record is cast-off."

Mastered by Sean McCann and cut at Dubplates & Mastering, Berlin.

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. " - SBTRKT

Pioneering music producer SI BEGG is set to release his sixth studio album, BLUEPRINTS, on Berlin's legendary label SHITKATAPULT. His first LP in four years, BLUEPRINTS is a celebration of raw electronics welded to the 'romance of engineering'. The project was inspired by the discovery of an old diagrammatic notebook that belonged to Begg's grandfather, George, in his lifetime a cutting-edge engineer.

Dubbed 'visionary' by The Who's Pete Townsend and widely considered a producer's producer, BEGG has been making genre-defying electronic music for more than two decades. Backed over the course of his career by the likes of John Peel, Thom Yorke, Leftfield, The Glitch Mob, Bassnectar and Mouse On Mars, he has carved a reputation as a recording artist, DJ and sound designer, and in more recent years as an award-winning composer for television and film.

BLUEPRINTS sees BEGG's passion for contemporary score collide with his love of electronic music. Since the release of his last LP, 2013's Permission To Explode, BEGG has written scores for four feature films as well as for Netflix Original series, Lovesick, and Battle Rap documentary, War of Words.

The concept for the album sprang fully formed when BEGG came across the notebook, a beautifully preserved leather-bound volume, annotated in his grandfather's precise hand. The book was filled with meticulous diagrams of compressors and parallel air ducts, graphs recording comparative noise levels at different factories, statistical information detailing the thermal efficiency of power stations, alongside blueprints for futuristic machines yet to be built.

At the same time, BEGG was reconnecting with his own back-to-basics studio machinery, the voltage-powered hardware instead of the slick high-end software used to create most electronic music today. The parallel discoveries felt like synchronicity and BEGG began producing tracks using analogue synthesizers recorded live in one take, augmented by circuit bend effects units and the electro magnetic field noise created by mobile phones and hard drives. In his characteristically uncompromising way, rather than try to hide the cogs and gears and remove the excess distortion, BEGG decided to champion these idiosyncratic machines. In putting them centre stage, he aimed to demonstrate that not only were these unique tools to create art, they were simultaneously works of art in their own right. Like his grandfather's designs, they had an aesthetic beauty all of their own, form following function.

The pieces on the album evoke the beauty and romance of great engineering, often overlooked in a landscape of post-industrial gloom - the breathtaking geometry of vast gasometers, the sweeping grandeur of a suspension bridge, the finesse of circuit diagrams, a precisely laid-out city viewed from the air at night. From the hums and sparking pops of Heat Resistant Alloys to the relentless subsonic sine waves underpinning Resistance Is Expensive, raw electrical signals pulse through the heart of the music.

This is a work of complex, evolving mathematical patterns, circuitry bent out of shape. It is a hymn to the voltage-controlled oscillator.