Beats News

Tele Music is one of the great repositories of library music, presently celebrating its fiftieth anniversary. The Parisian institution has been a goldmine for loads of crate-digging producers over the years, and here some of them pay tribute with their own remixes of original Tele material. Artists include Soulwax, Ron Morelli and Zombie Zombie!

Tele music-compilation 1a collection of Tele Music Remixes, crafted with pride by fans for fans. Compiled and curated by Alexis Le Tan. featuring modern reinterpretations of classic library heroes by: Soulwax, Joakim, Nico Motte, Velvet Season and The Hearts of Gold, Pilooski, Zombie Zombie, D.K. Gilb'r and Vidal Benjamin, Ron Morelli, Syracuse...

These tracks are for DJ's and open minded music lovers, lovers in general and also for anything, anywhere, where you want and when you want. To be played loud and with whatever one needs to enhance the listening experience. Bon appetit!!

Tele Music History
Founded in paris in 1966, Tele Music is France's foremost music library, featuring high-end studio musicians, its TMLP series collection is considered as crate digging gold. In 2016 all those vinyl tracks have finally been digitalized and re-mastered.

Compilation curated by Alexis Le Tan to celebrate tele music 50th anniversary, French producer Alexis Le Tan has invited his friends to work on exclusive remixes of some of the catalogue's unique gems. Mastered by Chab -the grammy award winning mastering engineer.

"Biotope Trax" features three tracks that instantly and unambiguously express Neewt's skill, establishing a very distinct style in sampling, programming, arranging and jamming in general, while retaining a certain diversity, infused with his broad variety of influences, from psychedelic, prog rock, krautrock, and a trailer load of underground sounds old and new.

***Edition of 50 copies - housed in a hand stamped corrugated outer***


Emerging through storm-like waves of distortion, opener 'Alpha' sets the scene for this beguiling cassette release, with melodies rising out of — and then descending back into — the chaos. '3000 Years' takes vocal samples as a starting point, before melting into layer upon layer of delay, after which 'Confounded' picks up the pace with its heavily distorted beats and the side then closes to the sound of a distant choir burning in acidic ambience in the shape of 'Fruitless Clicking'.
The nightmarish, malfunctioning machinery vibes continue onto the second side, with the more dance oor-friendly 'Strange Conversations' and 'The Brink' bookended by the two-part ambient epic 'Pale Blue Dot'. Dark, glitchy, and at times outright uncomfortable — perfectly suited to the cassette format.

Danny Scrilla returns to Cosmic Bridge Records with a full-length project inspired by a desire to experiment outside of club conventions. While Cosmic Bridge has become known for forward-thinking, dubwise dancefloor mutations, label founder Om Unit has long been a fan of ambient and synthesizer music and Ancient Musical Box offers a current take on the format, with 16 tracks of lush electronic compositions and meditations. Fittingly, Ancient Musical Box also marks the label's first cassette release.

Ancient Musical Box was written over the past year as a direct reaction to Danny's frustration with club music and the inevitable cynicism that can sometimes arise from prolonged contact with scenes, styles, and genres. I wanted to create something without any ulterior motives,' he explains. As the tracks accumulated, the project took on a personal dimension and therapeutic qualities. Intent on not over-thinking or polishing his ideas, Danny created something that is less album and more a collection of emotions in their rawest form.'

Despite not being intended for the dancefloor, the music on Ancient Musical Box still bears clear relations to Danny's catalogue in its minimalist approach and use of melodic motifs. You can hear it in the hazy crescendo of 'Night Sweats', the wobbly funk of 'Pangalactic Gargleblaster', and the gentle keys of 'Talisman'. Alongside these are more experimental moments, seemingly fragile in their simplicity but hiding a depth that reveals itself in context: the delicate loops of the title track, the vibrations of 'Cryopod', the melancholy progressions of 'Too Little Too Late'.

Ancient Musical Box is the sound of a producer remembering that the best ideas are the simplest, in the process pointing to new directions.

Stitched booklet, pressed coiled spring, gatefold, ltd. to 250 copies., incl. mp3

This second edition in the new Industrial Folklore series from Folklore Tapes is a sub-series exploring the hidden industries and workshops of clog makers, saddlers, quarrymen, dry-stone wallers, cotton mills and spring makers.
This record commemorates the veiled labour and voice of the spring. The first side reveals the workshop of B.P.S Springs, featuring the men and the machines that have inhabited the space for thirty eight years. The second side is a soundscape of tones from over ninety collected helical springs, handmade at B.P.S workshop and mounted in a circular arrangement atop a piece of wood, amplified and either plucked or oscillated with a motor.
Simple non-coiled springs were used throughout human history, e.g. the bow (and arrow), even the bend in a tree branch. In the Bronze Age more sophisticated spring devices were used, as shown by the spread of tweezers in many cultures. Coiled springs appeared in door locks early in the fifteenth century. The first spring powered clocks also appeared in the fifteenth century and evolved into the first large watches by the sixteenth century. In the eighteenth century, the Industrial Revolution spurred the development of mass production techniques for making springs. In popular culture both the slinky and the magic roundabout gave the spring an exciting dimension for children and adults alike. Spring reverbs have been used in music from the mid-twentieth century and who doesn't recall the sound of a bed spring popping right by your ear in the dead of night
B.P.S Springs Ltd. in Rochdale, Lancashire have been making every type of spring (torsion, compression, coiled, extension, flat) for cars, beds, boats, pegs, pens, lamps, trampolines, staplers, computer keys and more for the past thirty eight years. Named after and run by three friends, Bud, Pete and Sam, B.P.S will close for business, fittingly at the end of spring 2017. Fred Helliwell stumbled upon the workshop by accident and was struck by the everyday significance of the place and between the voice of the spring and the voice of the people who make them. After speaking with the spring makers and discovering their imminent retirement it seemed fitting to create oral and photographic documentation as a lasting commemoration to the hidden hands that have been at the helm of Rochdale's industry since the decline of textile production in the area.
The first side of the ten inch record captures the atmosphere of a day in the life of the spring workshop, with lathe cutters, croppers, grinders and the telephone ringing amongst spoken accounts from Lancashire spring makers Bud, Pete and Sam. The second side features a hand-built sculpture clock (symbolising the clock of labour) and utilises many of the springs collected from B.P.S, played percussively and plucked with oscillations produced by a motor, echoing the rhythms of the machines in the workshop. The 'spring clock' is played in clockwise rotation in an improvised soundscape, with the steel vibrations often producing incidental atonal harmonies that resonate and shimmer. Each spring has its own identity, its own unique signature of sound.
Part documentary and part sound meditation, 'Springs' acknowledges the hidden labour of B.P.S Springs and explores the vast tonal range of the common metal spring, elevating the significance of an everyday object used so much, yet often taken for granted.
'Springs' is a limited edition ten inch record bound within a gatefold sleeve with a hand stitched booklet containing dozens of black and white photographs of the inside of the workshop, along with notes and drawings by Fred Helliwell. A pressed spring is included with each of the 250 hand numbered editions of the record.

Gatefold, handstitched booklet, ltd. to 250 copies., incl. mp3

Folklore is most often associated with the romance of rural life, but this new series of releases explores 'industrial folklore', born from the hardship and daily toil of workers in mills, mines and foundries in the north of England. The Industrial Folklore series sets out to explore a recent past, embedded in family histories and still in living memory, yet for the most part a forgotten bygone era, that appears to have little connection to our present existence.
It is no coincidence that the artists who begin this series are all based in and around Lancashire, the birthplace of the Industrial Revolution, a landscape silently haunted by the tangible remains of once thriving noisy industries.
Instruments of Industry is a translation of a residency and exhibition by Hannah Leighton-Boyce from 2016. The project approaches the tool as an extension of ourselves, our contact, relationship to and being in the world. It draws on the connection between Touchstones Museum's collection of trade tools and their resting place, Thomas Robinson and Son's, a former engineering works which now houses the archive.
These prehensile tools have been elevated to museum objects and represent our pre-industrial relationship to work. Disembodied from the hands and minds that worked them, they are no longer 'present at hand' and remain at a distance, carefully preserved as an object of esthetic and historic value.
The tools on the shelves hold a latent memory of an action, the resonating sounds created in the moulding, measuring, bending and shaping of process and a material. Using sounds captured from 'ringing' the tools, the work was composed as a series of movements and explores resonance as a way of touching and conversing. From the working hand to the disembodied, from the real to the imagined, to the coming present.
This first release through Industrial Folklore Tapes features the original exhibition recording of a fifteen minute composition using 'ringing' tools' on side A and a side B features each tool spoken and then played in turn.

incl I-ROBOTS MIX

Original & remix versions of the 1983 Italo classic 'Preludio'. That changes hands on discogs for over £50

LP+DL) KRAAK is proud to present his 7th album on KRAAK - Kreis Plön, which documents and envisions 20 years of exploring. It's an album that is about a fusion of the past and the future, of separation and reconfiguration, of mourning and rejoicing,of noise and peace. Kreis Plön is about geolocation. It's about probable fiction and looking for bits of different puzzles that fit together. An exercise in linear and perpendicular coherence devoid of any objective logic.

Almost 20 years ago Jürgen De Blonde debuted on KRAAK with the nowadays unfindable and almost visionary album köhn 1. It was the starting point for a vital and wondrous exploration that lead him over paths of glitch, idm, shoe gaze, hypnagogic pop, improvised music, straight forward synth music, field recordings and kraut...

In the middle of this ungraspable adventure through contemporary electronic music, Köhn stands as a genuine artist that stayed true to the curious spirit of the DIY knob twiddling and boggling boy he once was.

KRAAK is proud to present his 7th album on KRAAK — Kreis Plön, which documents and envisions 20 years of exploring. It's an album that is about a fusion of the past and the future, of separation and reconfiguration, of mourning and rejoicing, of noise and peace. Kreis Plön is about geolocation. It's about probable fiction and looking for bits of different puzzles that fit together. An exercise in linear and perpendicular coherence devoid of any objective logic.

In the middle of the album an artist is envisioning his place in the Now, questioning how or when he got there, as he links memories to imaginary places, and real places to imaginary histories. Kreis Plön stands as such a masterpiece that bluntly envisions the future of electronic music.

mastered by Karel De Backer
recorded and produced by Jürgen De Blonde
artwork & design: Ruttens-Wille

Gatefold sleeve, 180 gram vinyl, cut at 45rpm

Challenging electronic album from 1986 by Maggi Payne.

Maggi Payne is an American composer, flutist video artist and co-director of the Center for Contemporary Music, Mills College where she teaches recording engineering, composition, and electronic music. Her work involves electroacoustic, instrumental, and vocal works along with works involving visuals, including dancers outfitted with electroluminescent wire and videos she creates using images ranging from nature to the abstract. She has composed music for dance, theatre, and video.

Crystal was first released in 1986 on the Lovely Music label. Home to experimental musicians such as Robert Ashley, David Behrman, Pauline Oliveros and Alvin Lucier. On Crystal flute, spoken voice, sonifications and synthesizers are processed to create dense and massive structures. Maggi Payne's musical imagination is vivid: she is interested in the surreal, the inward, the micro, and the accumulation of physical and psychological tension. Periods of silence gently evolve into flowing drones of complex resonances. Oozing drones evolve into dense and powerful peaks of short duration. The compositions and sounds on Crystal have incredible depth, a profound logic and, though not "pretty", an irresistible beauty.

"I create immersive environments, inviting listeners/participants to enter the sound and be carried with it, experiencing it from the inside out in intimate detail. The sounds are almost tactile, visible, tangible. A narrative of the imagination exists, allowing each person experiencing the work to thread their own paths through their mind's imagination and their body's physical engagement. Each sound slowly unfolds, revealing intricacies and complexity. Each grows and evolves like crystals forming under the microscope.

When creating sounds I visualize/auralize trajectories. I visualize the sound as originating from, for instance, a point source below where one is standing, then it swirls outward and upward in an ever-expanding spiral until it disappears high over the listener's head, morphing as it travels. Spatialization is not imposed when mixing, but is instead created in the original recording by increasing the amplitude of the sound on one track then decreasing its amplitude as the identical frequency is matched on the next track while it is increasing its amplitude, dovetailing the tracks across the space. Using extensive multi-tracking, the spatialization is retained, architecting and sculpting the aural space so that multiple perspectives and trajectories coexist."

Gatefold sleeve, incl. insert, ltd. to 1000 copies

This classic minimal music album is now available again on vinyl for the first time since the 70s.

Californian composer Terry Riley's In C, first issued on vinyl in 1968, is widely acknowledged as a Minimalist landmark that altered the course of twentieth-century music. His influential album A Rainbow In Curved Air, which appeared the following year, is a vivid fusion of rock and raga, jazz and psychedelia realised through overdubbing on an 8-track machine which had recently been installed at the studios of Columbia Records.

In recent decades Riley has composed a series of critically acclaimed pieces for string quartet. He has also written for full orchestra and explored a variety of instrumental combinations. But during the 1970s, he concentrated on solo keyboard performances, continuing to make music yet writing down almost nothing. Riley selected a mode, chose a few motifs or basic patterns and then, seated on the floor in front of his audience, improvised on electronic keyboard. That instrument became an essential part of his musical identity for a while, although it was chosen in part for practical reasons. The electric organ, superseded at later concerts by a synthesizer, was portable and consistent. This enabled him to avoid unreliable pianos in venues which were less formal and more variable than the standard concert hall circuit.

By the early 70s Riley had come to feel that scores were a distraction. Faithful interpretation of an already written piece was a deviation from the true purpose of making music, which was spiritual quest. Fortunately, some of those live performances, personal journeys towards a state of transcendence, were captured on tape. Persian Surgery Dervishes, issued initially on the French label Shandar, features two such concerts for electric organ and reel-to-reel delay, one recorded in Los Angeles on 18th April 1971, the other in Paris on 24th May 1972.

At the start of that decade Riley became a dedicated student of the great Hindustani singer Pandit Pran Nath. Looking into North Indian classical tradition he found correspondences to modal and cyclic ideas that he was already working on. In 1971, as a way to learn more, Riley himself started teaching Indian music at Mills College, in Oakland. That experience fed directly into his solo keyboard performances, but other influences were also shaping the music heard on Persian Surgery Dervishes. Personal research into ancient Persian culture and the poetry of Rumi lit up his imagination, while the repetitive swirling of Sufi devotional music from North Africa, which Riley had first encountered in Europe during the early 60s, reverberates through these performances. Jazz, as conceived by such masters such as Bill Evans and John Coltrane, is also present as an enduring source of inspiration.
The Californian version of Persian Surgery Dervishes starts with low dark tones, dense and brooding like a huddled human figure, deep in introspection. But as the improvisation unfolds Riley's buoyant spirit asserts itself, spiralling out in ecstatic coils, as though liberated from the grip of body consciousness. The Parisian concert conveys a different mood, brighter and more open in texture, more relaxed from the outset and breathing with greater freedom as it takes flight.

Echoes of Terry Riley's inspired music have spread far and wide - into progressive rock, New Age and ambient soundings, film soundtracks, blissed-out electronica and dance-floor trance. His fluent and hypnotic keyboard playing can be heard as part of a continuum, transmitting energies from ancient and distant musical sources into the living here and now. Persian Surgery Dervishes is a significant part of that picture, a mesmerising record of a vital stage in Riley's ongoing quest for connection with the universal mind and the sublime music that flows ceaselessly from it.

Music is my spiritual path. It's my way of finding out who I am.' Terry Riley, in 1976

Carmen Villain returns with the 'Planetarium' EP, the follow-up to her 2013 debut, Sleeper. In the span of the last few solitudinous years, the US-born, half-Norwegian and half-Mexican has honed and nurtured her songwriting and production craft, while still drawing from the gossamer atmospheres of 'Sleeper.' She weaved the hyper-personal songs in peaceful seclusion, creating starry tapestries of field recordings, piano, guitars, programmed drums and synths

Take a trawl through Mushroom Projects' ample back catalogue, and you'll immediately be struck by their constant artistic progression. Throughout their career, Giorgio Giri and
Marco Lentano have refused to stand still, with each successive release offering a subtle signs of musical evolution.
They're at it again on Rivea Corymbosa, a sophomore set that's markedly different - albeit similarly minded - to their 2013 debut album, Undergrass. That album bristled with psychedelic intent, offering fuzzy, thickset fusions of dub-disco grooves, gritty funk-rock guitar licks and acid-fried musical fourishes. It was in marked contrast to their early 12' singles, which offered a nu-disco-era take on the pioneering Cosmic Disco sound
developed in the late '70s and early '80s by fellow Italians Daniele Baldelli and Beppe Loda.
With Rivea Corymbosa, the Parma-based production duo has moved on once more. For starters, it's far breezier and more positive in feel than many of their previous releases.
The claustrophobic atmosphere and drowsy textures, so noticeable on Undergrass, have been replaced by the kind of lazy, sun-kissed vibe that evokes thoughts of Adriatic
sunsets and afternoons spent by the pool on the Italian Riviera.
Even more startling is the duo's expanded musical repertoire. The album features a much wider array of elements, from the title track's darting Rhodes keys, vintage synth solos and wah-wah guitar fashes, to the humid pedal steel lines of Baiano', and the
husky spoken vocals and spooky fute solos of the sparse, bongo-laden Pulsacao'. They're not afraid to utilize their own feld recordings, either, as the children's chatter underpinning recent single Dirty Bolas' perfectly proves.Throughout, the percussion feels loose and organic, the guitars casual but funky, the
keys sumptuous and sensual, and the bass lines warm, rich and intoxicating. It's the sound of two confdent musicians, comfortable in their art, making music to soothe minds and gently tease punters towards the dancefoor.

After taking a break from his renowned AV shows, and keeping original releases close to his chest since his debut album in 2012, Soul Has No Tempo proudly present Natural Selections, the breathtakingly refreshing second EP from prominent: producer, Sampology. The relentlessly innovative Brisbane native releases his best and most personal work to-date. As a torchbearer for collaborative inspiration, Sampology's passion for extracting and supporting emerging talent from the depths of Brisbane's evolving Soul/Electronic scene shines with Natural Selections.

Exposing a previously untapped side of his vast musical sphere, Natural Selections is an exquisite 6-track EP that delves into Sampology's afro-percussive and organic influences which he has masterfully produced and laced with lush, live elements throughout. Following a hiatus from releases and touring to further develop his craft, the results have been well worth the wait. The producer is at the core of the live instrumentation on Natural Selections, playing keys, Kalimba, live percussion, Rhodes and drum programming - a highlight also being the engagement of renowned composer and conductor, Gordon Hamilton, arranging strings on lead single 'Thicker Than Water'.

The pinnacle of the EP is the stand-out collaborations and features. Sampology has called on a number of Brisbane artists/friends that represent a new wave in soulful, fresh electronic music to lend their talents, with the producers own family also collaborating on the music and art. Upcoming vocalist Tiana Khasi features on lead single 'Thicker Than Water', Laneous (Hiatus Kaiyote cover artist) offers his vocals to 'Different Star' with the powerful strength of NZ-born/Berlin-based (via Brisbane) artist Noah Slee, shining on 'Be There'. Even closer to home, Sampology's family lay the true building blocks of 'Natural Selections'. With his father Ken Poggioli playing upright bass, his Aunt Helen Poggioli playing viola and his mother Sue Poggioli creating the artwork and visuals that will feature throughout his new live show, it is a true labour of love. Brisbane-based label and friends at Soul Has No Tempo will be releasing 'Natural Selections' digitally across all major stores, with the EP also available on 12' vinyl with a full colour jacket featuring artworks by Sue Poggioli.

Apollo introduce Sieren, AKA Matthias Frick.
A software engineer at Ableton by day, Sieren's love for UK influenced bass music and field recording and experimental soundscaping has resulted in this masterly EP of atmospheric street-rave soul. This is his first release since his debut LP 'Transients of Light', released earlier this year on Christian Loffler's Ki records.
Fittingly, fellow Apollo cohort Synkro was instrumental in the curation of the Static Polymorphism EP - hand picking the tracks, as well as road testing them to memorable effect on Berghain's hallowed system no less.
'Neglection' opens the release, with billowing widescreen pads, a ghostly 2-step drum figure and pulsing subs, 'Rebase' ratchets up the intensity, with sinister bass drones punctuated by strafing perc and hissing ambiance while 'Relicts''s angelic yet melancholic atmosphere pulls the listener in with heart-aching synth washes and whispered female vocals. Closer 'How To' pairs mechanistic slo-mo funk with caustic 808 kicks, muttered vox and juddering bass stabs.
This is richly textured and intricately programmed post-bass music that is sure to satisfy fans of Burial, dBridge, Akkord with its soulful sincerity and warmth.

* 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).

Skam Records are very proud to announce the return of Bola.

LIMITED GATEFOLD 2LP.

After 10 long years hidden away in the hills, huddled in the Bolamachine - at long last Bola awakens, delivering an album of power, elegance and beauty...

Recorded @ Bolamachine B All tracks composed and performed by the Bolaman. Kappafects co-composed and performed by Dennis Bourne. No humans were harmed during the making of Evensong. While every care was taken, slight but unavoidable human abuse was endured in the making of Kappafects.

Art and design: Michael England

Superb album for experimental breakerz and Ambient lovers... A pure acid pleasure. A true Treasure !

Foom presents two new pieces by Micachu (Mica Levi) — one for cello, played by Oliver Coates, and one for piano, played by Eliza McCarthy.

This record is meant to be enjoyed like a seascape. It offers a Mediterranean journey, one that Ulysses, Aeneas, and Jason with his Argonauts charted first and Valencian artist, Pep Llopis, retraced and retread — from the islands of Menorca to Santorini. All of his experiences are aboard this vessel of sound: no format in mind, no course but the chasm within self. While Poiemusia La Nau Dels Argonautes materializes at this moment as an album, another object suits Pep's project: Lewis Carroll's Map of the Ocean' from his The Hunting of the Snark. It's a simple illustration: the thin outline of a blank rectangle that represents the sea with no trace of land. Carroll offers this empty space as an object that all can understand, a container for possibility. Likewise, Poiemusia offers a musical language that any listener can understand. Untethered to the meaning of words, one is set adrift and free in minimalist sound and traditional music. Llopis, who often composed for dance, originally wrote Poiemusia for a performance at the Poiemusia festival (the Greek contraction of poetry and music). Peer composers, Carles Santos and Wim Mertens, also participated in the festival, which took place over several days at the Teatro Princesa in Valencia. Llopis paired his newly formed avant-garde compositions with the poems of fellow Valencian, Salvador Jàfer.

In the studio presentation of Poiemusia, voices softly converse, only to evaporate. The poetry is incanted by the poet himself. Jàfer enunciates at the verge of song, drawing dimension from his Mediterranean travels. He is accompanied by Montse Anfruns' vaporous voice. She extends the roll of her r's and the hiss of each s as if casting a spell of Salacia. Pep bathes their conversational performance in slight delays and reverb, allowing their voices to dissolve into an ocean of sound.

Llopis was influenced by minimal American composers like Steve Reich and La Monte Young. He embraces the melodic sides of these masters in the winds of El Vell Rei De La Serp' and the tender piano on Nits de cristall.' You will find yourself submerged in tonality on tracks like Jardins Aquàtics' and La Nau Dels Argonautes' which have a kinship to Philip Glass or Daniel Lentz. Each piece extends from 5 to almost 14 minutes. The music gently laps against listening skin— sometimes placid, sometimes shimmering. Ripples of sound swell and quicken. Flutes like schools of fish. The spray of chimes. Taught strings break like the shore. Tingling, undulating synths. The record cover acts as a map, tracing the forms of the original art and providing the poems in Catalana and Spanish. Once bathed in these sounds one will emerge like Carroll's map: a perfect and absolute blank.' Poiemusia La Nau Dels Argonaute emerges in vinyl and digital formats on May 19, 2017 through Freedom To Spend.

Superb new Album from APPART, breakbeat Tango and Electroswing master pieace full of electronica

'Star Of Love' is the much anticipated debut album from the purveyors of boundary shattering electro Crystal Fighters, whose music melds Animal Collective toned delicacy with Soulwax inspired rave

When two people meet: Harmonica space time thicket drums compiled through carbophonic blooming. Stalker/Swoop is a collaboration between German «DIY-Instruments» artist Andreas Oskar Hirsch and Austrian percussion and field recording perfectionist Richard Eigner from Ritornell.Cologne-based artist Andreas Oskar Hirsch produces visual works, sound, music, and texts. He investigates sound, setups, narratives and performative processes and pushes them to a point where frenzy, humor, sense, and nonsense meet. Andreas has been inventing various musical instruments that he performs with, among others, the Electric Palm Leaf, as well as his latest construction, the Carbophon, a kind of a super-kalimba. Both instruments were used on Stalker/Swoop.Richard Eigner is an Austrian composer, sound artist, producer and drummer. In his music he crosses the borders of »experimental acoustic music«, »minimalism« and »electronica« with a focus on the symbiotic use of acoustic elements and electronically produced and processed sounds. Strenuous with numerous sonorous projects he is kept busy with his playful musical project Ritornell, the setup of Denoising installations or drumming for the likes of Patrick Wolf, Flying Lotus, Dimlite and Patrick Pulsinger.

Instrumental industrial electro and techno with a massive experimental IDM ambiance... This dark and clean, total in a plastician ambiance. Enjoy !

Following the collaboration between Elysia Crampton, Kelela and Adrian Piper, 'Final Exam', The Vinyl Factory join with Elysia on her next solo release. 'Spots y Escupitajo'. The release braids legacies from both American club culture and sonic miniature compositions in the form of a 12' sample pack. The LP honours classical American composers such as William Gran Still & John Adams, as well as Central/South American club producers like DJ Rodini, DJ Saiber & Mega DJs from Cochabamba

Analog synthesizers, drum machines and oriental lutes'

Ko Shin Moon is the first contemporary artist signed and produced by Akuphone and reflects perfectly the new cosmopolitan sound that the label wanted to highlighting.

Blurring the lines between time and space, Ko Shin Moon mixes acoustic instruments from various regions of the world, analog devices, traditional music, electronic arrangements, sampling and field recordings.

As the soundtrack of a patchwork journey, the band's first LP conveys one along a succession of hybrid territories, imaginary sound landscapes, multicolored collages: Acid Dabke, Turkish-Greek Disco, Cosmic Raï, New Beat Molam, Tibetan Ambient, Synth Wave Hindi Filmi, Rickshaw Dance Music...

Comes with download card.

FUTURE SOUND HAS NO BORDERS!

- 180 GRAM AUDIOPHILE VINYL
- EXPANDED EDITION FEATURING 3 BONUS TRACKS DISKOMO 1992', DISKOMO 2000' AND TWINKLE 2000'
- LIMITED TOUR EDITION OF 1.000 NUMBERED COPIES ON TRANSPARENT BLUE 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.

After Eskimo was released The Residents responded to the furore of fuss and praise it generated by taking various bits out of the album and re-working them to a disco parody of the original, this created Diskomo.

The Residents had long planned to produce a children's record -- of sorts. Goosebump is a collection of Mother Goose rhymes set to music with all of the original sinister overtones' left in place. They teamed up with their long-time collaborator Snakefinger and recorded the songs using only musical instruments. Although children's toys were used to produce the music, The Residents' grown-up toys were used afterwards in the mixing of the recording.

We are proud to bring you the expanded edition of the Diskomo / Goosebump E.P. ! This 'new' version has no less than 3 bonus tracks: Diskomo 1992', Diskomo 2000' abd Twinkle 2000'.

Front sleeve notes Special 12' - 45rpm Disco record - Based on the LP Eskimo - Disco will never die!. The Drawing on the back sleeve was done by Jad Fair of Half Japanese. This limited tour edition of 1.000 numbered copies is pressed on transparent blue vinyl.

Andreas Tilliander (Mokira, TM404) returns with a plunging set of skewed techno dubs for the mightily on-form Ideal label, his first new release for the label since the Bias Line 7' in 2010, and the
Hateless album released a decade ago.
Andreas Tilliander has gone some way to making his studio a bastion of dub music within his home city, Stockholm ever since emerging with the Cliphop for Raster-Noton in 2000 and
subsequently releasing a whole slew of influential releases for labels including Mille Plateaux, Type, Kontra and Skudge. With the heady churn of Compuriddim dispensed under his own name, Tilliander returns to the site of some of his earliest outings, Joachim Nordwall's iDEAL with a clutch of warped and murky
dub ecologies firming up as some of the most absorbing iterations of his adroitly smoked-out sound.
iDEAL were first turned on to Tilliander's music via his Ljud (2001) LP for Mille Plateaux, and have established an occasional yet crucial relationship ever since, resulting in highlights such as the
Dutty & Digital (2004) 12' and the Bias Line (2010) 7'. The Compuriddim set is the newest and most intoxicatingly textured addition to that collection; six tracks strong in pursuit of a elusive electro-acoustic geist that lives between the wires of his classic hardware, in the late night air of his studio.
In keeping with the classic tenets of dub production - less-is-more efficiency, constant movement within space - he executes a sort of psychoacoustic telekinesis with the 6 parts of Compuriddim,
skanking from the spiralling loops of drip bass and drums overlaid with windswept melodica in Twilight Circuit, to a grumbling but charming dub techno stepper on Mokirian Tekno Trak, then
letting it all go loose and floppy with the sloshing Afracid deviation of FR777 Skank.
Open Up The CV/Gate meanwhile kicks off the B-side at a bendy slow/fast bent lodged somewhere between Tin Man and AFX's slow mo Analords or Cheetah tracks, followed up by the ragged dub chord stagger of Return Of The Super Tape, and the EP's sweetest number, a bottom-heavy but dainty whorl of 303 dialogue seemingly detained for the most squashed and strange corners of the night or morning after.

Suction Records presents a new split-12-inch by label alumnus June and Lowfish - 'C.D.S.N.' (suction038) is 4 tracks of classic Suction-style melodic analog electro. 300 copies on ORANGE vinyl. Berlin's June first appeared on Suction Records with his 2015 debut album of wave-inspired electro, 'Dominion.' Here, June opens the 12' with 'Cynthia 84,' a a lush, beatless Tangerine Dream-scape, thick with analog arpeggiations and gorgeous melodies. 'Navigation' closes proceedings with a driving, dark electro/wave dance track. Toronto's Lowfish co-founded Suction Records in 1997, and has been a staple of the label ever since. Lowfish appearances have been few and far between in recent years, but he's returned here in finest form. 'Dead Specimen' is clinical and pounding electro, while side B's opener 'Scarborough Brutalist" is a prime example of Lowfish's patented melodic electro style, with catchy, melancholy analog melodies cascading over slow but slamming 808 beats.

After heavy support on their Rinse FM show over several years, Keysound Recordings are proud the announce an EP from Lyeform. While he's capable of a diversity of different moods and styles, the 'Things Betwixt EP' - featuring the title cut and tracks 'Elements,' 'Dead Angel' and 'Bright Night' - is an emotive new addition to the label's synth-lead, chromatic, melodic sub-canon, as contributed to by Damu, E.m.m.a., Murlo, Fresh Paul, Atlas and more. Lyeform aka Ben McCarthy is an experimental electronic artist from London with an emphasis on bass and precision drum programming. Lyeform's eclectic influences span from grime, dubstep, jungle, 80s/90s synth electronica, techno and instrumental hip hop to the cinematic works of Vangelis and Clint Mansell. Lyeform's expansive sound incorporates cutting edge sound design whilst remaining within the broad structure of UK 'nuum genres. His past releases include an EP on GRNDWRK and a 12' on Mozaik as well as a compilation feature on the forward-thinking Studio Rockers label, alongside regular collaborator Nomi. An up and coming presence on the club circuit, Lyeform's unique DJ sets have been booked as far afield as Slovakia and San Francisco. Closer to home, he has performed at the Converge and Free Range club nights in London and Bristol as well as the legendary Keysound Sessions. In 2015 he launched Void Space Records, to focus on releasing raw club music, with a 12' from Bristol based producer Riffs. With forthcoming releases on Keysound and Fulcrum, Lyeform's diverse and innovative music has received support on Rinse, NTS and Radio 1 from Dusk & Blackdown, Mumdance, Karma, Walton, Riz La Teef, Benji B, Beneath, Hodge, TMSV, Detboi and E.m.m.a.

_moonraker's second full-length release comes as a split-LP: Unvarete I and II. The duo continue to develop their inimitable approach to extended thematic development, melodic and rhythmic counterpoint, and chromatic harmonies.

Stray melodies, filtered machines, and electromagnetic interference weave in, out and around one another in the seventh installment in the Confused House series. Four pieces configured thru soft interplay of randomized / repetitive systems. Ambient warrior values.

One of 2 killer new 45s from May from Polytechnic Youth. This one featuring the enigmatic, underground genius of MIDDEX. Cold as fuck, brutally icey synth blasts from the depths of South East London. In the man himself's own words:

'This is the second installation of suburban deliberation and galactic musings for Polytechnic Youth from MIDDEX. This is outer space hidden in the outer boroughs plastered over the flat thump of frosted perspex hearts'.

A hand numbered edition of 250 7' singles with additional, various coloured, fold out poster inserts.

Further unreleased jams from the great TLT. BIG TIP!
You can trail away with it. It is easy to enter, but hard to drop out. Tolouse Low Trax just needs an MPC, a small Synthesizer set up and some effects to create subliminal hypnotic music trips, driven by dark synthlines and drunken shuffled patterns. The primitiveness in my music is linked to something simple, and that don't have to be obligatory minimal. For me it is enough to dance rough around the core. Music you don't shape till the end contains of a moment of beauty. A veil of secrecy. I work very simply. I rather reduce my possibilities in ompass. Limitations offer lots of liberties.' He reveals about his work ethic. Even if his music sounds darker then any ever experienced night, he mostly produces it in the morning in his highly inspirational studio home. During the dark times of the day Tolouse Low Trax mostly performs live around the globe. Or hangs out in his second home: the Salon Des Amateurs club bar in Dusseldorf, which he once founded and where he held until today two weekly DJ residencies. The moments and atmospheres he inhales during these lightless moments are mirrored in his shadowy music, about which he also confesses: My art is more a cinematic, literally idea of a large to explore Megacity. This is one of the pictures I would link to my music.' On ' part one he now offers five sounding visions about that Megacity'. They listen to mysterious names like Hidden Flat' or Studies in Drama'. They are nervous. They have ephemeral pieces of dub, Industrial, wave or Italian library music. And at times strangealienated voice samples dance within his highly addictive arrangements. Words can't express their magic. But one thing is fore sure: his hypnotic dance-not-dance tracks do not only illuminate so-called freaks!

You don't have to be a big name to have a big heart but it certainly helps. And that's exactly what we have up next on Touched, big names with big hearts. B12, legendary Warp act from the Artificial Intelligence era, have given Touched a new EP - 'BrokenBroken', a reimagining of their 2016 release 'BrokenUnbroken'.

Listening through, it's clear that these aren't mere remixes or rejected, inferior versions, real love and skill have gone into this EP. New tracks built from revisiting old material with new perspectives. Listen closely and you'll hear vestiges of what once was, riffs, melodies and rhythms are both vastly different from the original release whilst clearly showing their ancestry. It's this dichotomy that keeps you switching between active and passive listening.

Dubby melodic IDM from Dead Fader
Noisy distorted Dub from Goner