Beats Novedades

Das aus Kanada stammende und in New York residierende House-Duo Bob Moses veröffentlicht Mitte September sein lang erwartetes Debütalbum "Days Gone By"! Nach dem von der Kritik außerordentlich positiv aufgenommenen Compilation-Album "All In All", welches vor einigen Monaten ebenfalls auf Domino erschien, wird das heiß erwartete Debütalbum zehn brandneue Tracks enthalten. "Days Gone By" versteht es vorzüglich gemächlich, sowie auch kraftvoll zu verführen, nimmt sich Zeit und hat über Albumlänge verteilt einige raffinierte Überraschungen parat. Der so balancierende Tanz zwischen Mann und Maschine bedarf natürlich einer behutsamen Ausführung und ist doch gleichzeitig Bob Moses' mutige Expedition in einem Raum der verschleierten Stimmungen und zeitlosen Introspektive. Bob Moses gingen aus der New Yorker Underground Electronic Dance Szene um das Marcy Hotel Kollektiv hervor, wo sie u.a. mit Künstlern wie Soul Clap, Wolf + Lamb und Nicolas Jaar verkehrten. Ihre Live Erfahrungen sammelten sie so nicht selten bei Auftritten in verlassenen Brooklyner Lagerhallen.

A master of crafting complex, intelligent, original productions, 2016 sees Flume return to the spotlight with the much anticipated 'Skin' album, via Transgressive Records. 'Skin' features such global superstars as Beck, Vic Mensa and the UK's own AlunaGeorge. Lead track 'Never Be Like You' (featuring Kai) roared to the top of the Australian singles charts and has gone on to become a genuine global hit.

Rising Melbourne-based producer Thrupence releases his latest creative piece, Ideas of Aesthesis, featuring track 'Rinse Repeat', guest feature from Wafia and his brother Edward Vanzet

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

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

Wolfgang Salomon works as a photographer releasing many books with haunting pictures - off the road' - abandoned buildings, eerie landscapes... for instance Vienna, Triest - and now in april: Venice.
Christina Nemec works as an electronic musician, dj and journalist, releasing (solo) on Mego and with the band SHAMPOO BOY on Blackest Ever Black.
Gerhard Potuznik was one of the first electronic musicians in the early wave of Austrian electronic around the scene of Cheap/Mego (projects: Private Lightning Six, Cube & Sphere), currently : MÄUSE with Quehenberger/Kern/Rubinowitz
Salomon invited the two musicians to accompany his foto-evenings and book-presentations with their music. It fitted perfectly and a dvd with an extensive foto-slideshow and the dark, moody tracks was the logical follow-up.

Baby Whale doses a cross between classic Chicago house and E2-E4 with a no-prisoners boogie bassline and piano chords glistering in from Rimini. JV's signature spaced-out production assures a head-turning dancefloor banger for the 4am crew.
Adam & Eve is an intriguing mix of exotica and Arthur Russell. 'The sound of Matisse,' says the label.

Leftism 22 arrives 22 years on from the release of the acclaimed original, in a remastered version overseen by Neil Barnes and Paul Daley. It will be available in a 2CD 22 track special edition featuring a bonus disc of the 11 album tracks remixed by a host of top house/electronica/techno artists (full tracklisting to follow).
Also available in limited edition gatefold 3xLP heavyweight vinyl, mirroring the original vinyl release, with download codes for the new mixes plus digital configurations.

After releasing two 12's for Lee Gamble's fledging UIQ label, Latvian artist N1L flits to Where To Now to present four new compositions of smudged, innovative, and completely otherworldly bass mutation.

'Mud Diver' begins with the aptly titled 'Chasing the Sun', at first holding all the intentions of aiming for a big room anthem - introducing itself with familiar melodic pads and focused, drop friendly peaks. Anyone who knows N1L's work though will understand that this settling for a straight forward approach is not his vibe... at drop point the anthemic nature absolutely plummets face first into the grit and accelerates away into layer upon layer of revving synth mayhem, transforming with grace into the complete polar opposite of its initial gambit.

Title track 'Mud Diver' takes us further down into the realms of machine trouble and its mechanised cyclical movements. Held together by the deepest of off beat kicks, we wade through this horrorscape of construction and collapse in search for light. This light comes in the form of 'Jaget Och Maskerna' where swathes of rapid-fire signals weave through the darkness and speed away towards the hopeful bloom, holding an escapist and otherworldly aura, a hallmark of much of N1L's work.

Submerged for 9 minutes 'Clockroach' takes us deeper and deeper down into the basin, where dubwise flutters of percussion and sparks from the breaks of rolling dread bubble around the vessel. Recalling the deepest moments of Raime, the tensest moments of Kode 9, and the most desolate moments of Demdike Stare, 'Clockroach' best embodies N1L's ability to respectfully reference a rich history of bass music, whilst injecting his own deeply experimental learnings and leanings at every turn.

'Listening to the music of N1L is at times like staring into a vast, bleak expanse where time moves at a different rate to the rest of the world...N1L's music feels stretched and compressed in equal measure, combining a nostalgic traces of 90s techno, jungle and rave into something that sounds like it's been torn from another era and warped in the process.' - Scott Wilson (FACT)

Punky noise, woozy hip-hop and oddball electronics are throwing a rager and it's a colorful one. Such is the basis for new Ghostly signee Psymun's Rainbow Party EP, a three-track foray into the far reaches of Hip-Hop from the Minnesotan music-maker. As part of the acclaimed Thestand4rd project (including fellow Minnesotans Corbin (aka Spooky Black), Bobby Raps and Allan Kingdom) as well as solo work on the Pink Label - Psymun returns with a sonic statement that's as emotive and adventurous as the impressive as the work he's supplied his crew with.

EP opener Glitch Tundra' features frequent collabora-tor Chester Watson dropping in over a sweeping, ominous beat, all fog and chilly echo. Stretching out over seven minutes, an ominous vocal sweeps overhead while synths stagger upwards and dip beneath before a psychedelic, rowdy turn rips deep into the project's heart.

The rest of Rainbow Party doubles-down on the project's noise influence. Borne out of a prompt from Ryan Olson of fellow Minneapolis outfit Poliça, Psymun endeavored to make a set of music entirely at 55 bpm, and two of his experiments evolved into the finished tracks included here.

I Need My Boy,' in a departure from some of his prior production work, relies almost entirely on an arsenal of hardware to thump and wail, a voltaic and warm sonic quality which Psymun says even he finds hard to emulate without his newly acquired synthesizers.

Confetti' also makes use of analogue equipment, but works within a palette that may be more familiar to the producer's fans: jangly percussion and aquatic melody intertwine for a slow-burning but dynamic exercise in leftfield beatmaking. As the track draws to a close, vocalist K.Raydiodrops in for a phantasmagoric few bars before the noisy cannon blows once more. It's an aptly titled closer, streamers drifting from above as the festivities come to an end: a party to be remembered in technicolor.

Samuel Rohrer, the multi-faceted, forward-thinking percussio- nist and producer behind the arjunamusic label, the AMBIQ trio and a wealth of other musical projects, has set out on his own with a new full-length solo album Range of Regularity as a double EP set with a deceptive title if ever there was one: the sonic experience of this record is, in fact, a highly irregular one (and a highly welcome one at that). Constructed almost entirely upon electronically-treated recordings of acoustic in- strumentation, with a bare minimum of synthesizer voicing, RoR vibrates with a compelling organicism - as if old-growth Black Forest trees had conspired together to make an album of ultra-modern improvisational music. Indeed, the record feels limned with contributions from some 'other' intelligence, despite being a clear extension of the fluid, percussion-driven musical technique that Rohrer has exhibited in previous years.
Opening with the track 'Microcosmism,' the sound-forest feeling immediately takes effect, and the listener can either enjoying navigating a path through this verdant total environ- ment or just being lost in it. Sonic organisms fly in and out of your headspace here at different speeds and bring with them all kinds of different dispositions, though Rohrer's reliable propulsive rhythms are always there to help direct traffic. 'Le- nina' does not abandon this unique aesthetic, but reprises the story with a different vocabulary (in this case, deep synth-bass signals, piano runs and all sorts of hyper-real ventilations). 'Nimbus,' not at all an ambient cloudscape like the title might suggest, temporarily dials back the feeling of modular assem- blage that powers the previous two pieces, and allows Rohrer's drumkit to come to the fore, working away at a determined snare-driven beat that brings a variety of treated sound ephe- mera out their hiding places.
After the gentle - but never too precious - interlude of 'Sun- clue,' 'War On Consciousness' emerges as the album's infec- tious tour de force. As the title implies, the feeling here is of using sound to fend off some sort of invasive energy, and the epic battle that ensues features a full concert's worth of tim- bral variations and audio events. Incisive rhythmic patterns slice away like finely honed blades at an insistent mechanical chattering, while cautiously walking acoustic bass adds an ex- tra layer of defense. 'Uncertain Grace' closes the set out with an extra layer of defense. 'Uncertain Grace' closes the set out with a busy multi-layered arpeggiation punctuated with bass drum hits, from which a melodic narrative gradually emerges like a distinctly human face rising from a field of visual noise. As the drums again join in, the final exclamation point is added to a very personal artistic statement. Though fans of adven- turous music will find similarities to other progenitors of rhythmic intelligence (classic Can, for example), Range of Regu- larity stands perfectly well on its own.
Short CV: Samuel Rohrer, born in Switzerland and based in Berlin since 2003, is one of the influential improvisational musicians ofhis generation and has toured worldwide, performing at major festivals, like Punkt Festivalen, CTM Berlin, Nuits Sonores Lyon, NorthSea, Huddersfield Contemporary Music Festival, Portland Jazzfestival, MoldeJazz, Vancouver Int.Festival, Mon- treal International Jazz Festival, Sunwaves Festival Romania, amo...
He worked with numerous artists including Sidsel Endresen, Ricardo Villalobos, Skuli Sverrisson, Nils Petter Molvaer, Lau- rie Anderson, Nan Goldin, Eivind Aarset, Max Loderbauer, Mark Feldman or Jan Bang. He recorded several albums for ECM and built his own label arjunamusic records in 2012, on which he implements his idea of overlapping improvised acoustic music with electronic club music.
Besides working on many new projects including AMBIQ (with Max Loderbauer and Claudio Puntin) or with Nils Petter Molvaer, he collaborates with Soundwalk Collective, Nan Goldin, Harmen Fraanje, Daniel Erdmann & Vincent Cour- tois, Max Loderbauer & Luigi Rangino, Tyler Friedman, and many others, and is focussing on his solo work in the field of acoustic/electronic music.

The LP "The World is Shit" is a radical and depressing statement by Sebastian Reuschel looking at the world, the society and the people living in those.
A-side track "Exav 2B" is a warm and deep industrial ambient track which starts rough and noisy but culminates in a rolling and dark atmosphere.
"Dying Alone" - the b-side track - is a sample based rolling noise dream of suicide and total apocalypse.

Floating Points began as the solo project of Sam Shepherd before it became clear the immersive, intricate nature of his music demanded expansion. Following his critically acclaimed debut Elaenia this is exactly what happened and Floating Points live became a band of incredibly talented musicians with Sam at the helm. Now, Floating Points has announced a new short film and soundtrack, featuring entirely new and unheard compositions - Reflections - Mojave Desert via Pluto on 30 June. The film, in collaboration with director Anna Diaz Ortuño, finds the ensemble in a thrilling sonic exploration of environment under an endless desert sky.

Whilst we were out playing and exploring the area around us - the sound reflecting from the rocks, the sound of the wind between them, complete stillness at night and packs of roaming coyotes in the distance, it became apparent that we could use this as its own unique recording environment.'
- Sam Shepherd, Floating Points

The first in a planned series of environmental recordings by Floating Points to be filmed and recorded at different locations around the world, the recording was made last year, as Floating Points travelled to the Mojave to rehearse in between US touring. Immediately struck by the distinct sonic tapestry created by the rock formations and valleys, Sam and the band set up a recording operation and filmed this new work at the base of the natural sculptures they encountered. The music of Reflections - Mojave Desert mirrors the landscape: soaring and vast, dynamic and intimate, centred around two longer works and shorter pieces that create a singular and seamless experience.

Reflections - Mojave Desert begins with chords played on a Rhodes Chroma and recorded with a surround sound microphone. Throughout the filming, microphones were placed throughout the landscape to capture the natural sonic textures of the desert: the undulating sound of wind, a bird call, the rustling of bushes and more created a backdrop on which much of the record rests. The music softly shifts from the Fender Rhodes introduction to 'Silurian Blue', an expansive full band piece that balances refined restraint with explosiveness. In one scene, 'Kites', Sam Shepherd walks through a valley with a super directional microphone, swinging it back and forth as a synthesiser loop gets faster to showcase the natural reverb and shifting phase of sound waves. 'Kelso Dunes' signals the film's final act: the sky grows dark, lasers flash, the band and rocks gleaming in the pitch black around them.

One of London's most sought-after DJs, producers and live entities, Floating Points has toured with The xx - supporting their record breaking string of dates at Brixton Academy, collaborated with Caribou, Four Tet, and has performed across the globe including festivals like Glastonbury, Primavera, and Pitchfork Festival Europe. Floating Points' debut LP Elaenia was deemed Resident Advisor's 'Album of the Year' as well as Mojo's 'Electronic Album of the Year' in 2015. This was followed by the Kuiper EP in 2016. Sam also hosts the internationally renowned You're A Melody DJ parties and co-runs the Melodies International reissues label.

A voyage into the outer reaches of immersive, ambient techno and electronics where boundaries are blurred between 80s bedroom boogie, Detroit electro, broken beat and Warp golden-era bleep. based in Melbourne, Australia, Rory McPike has been putting out analogue and hardware-led sounds for a
couple of years under both his techno and jungle orientated guise Dan White and Rings Around Saturn.
Special Unthank 7 track EP spread over 10" and 7" formats!!

First Release from new label canoe, 3 tracker from nyra, vinyl only, limited numbers, don't splash about !!!!!

EMERGENCE is an epic, operatic, ambitious amalgamation between audio-visual show, scientific research project, art installation and IDM record, the debut release on Max Cooper's Mesh label and his second full-length release.2 LPs housed in a gatefold sleeve, featuring black and gold ink printed onto silver laminated board to create a unique and beautiful effect.The record was conceived as a soundtrack to a new series of 11 pieces of video art, each exploring a different facet of the concept of 'emergence'. The full A/V live show will premiere at Mutek, Japan on November 2nd 2016. Together the work is a marriage between the cosmic awe of a Carl Sagan film and the musical wonderment of Sigur Ros, made for meditating on the mystery of our emotional connection to fundamental natural form.
Cooper collaborated with film composer Tom Hodge and vocalist Kathrin deBoer to put together a rich piece of music that incorporates post-rock, Warp-y brain-dance, hi-def digital techno and shimmering neo-classical. Few musicians are as qualified as Max to tackle as profound an idea as 'emergence' through electronic music. Emergence is the story of the development of the universe, the way in which, very complex things like human beings where created from the immaterial by the action of simple laws.Max has synthesised his skill as a producer and his deep interests in science to create a Hadron Collider-grade ambient techno world, in the lineage of The Future Sounds of London's 'Lifeforms' for 2016. It's also one of the most beautiful records you'll hear all year. Early support at radio pledged from Lauren Laverne and Mary Anne Hobbs.

After his acclaimed Heatwave and Shadows mixtapes, Leonce releases Insurgency on Fade to Mind, the first official EP from the young Atlanta-based producer. Insurgency was born from demos and sketches first recorded in 2014-2015, inspired by Leonce's favorite elements of house music and his desire to recraft these influences into his own club microverse.

In Leonce's words: 'If house is a feeling, then Insurgency is me subverting that feeling across different tempo ranges and going into weirder and darker territory, like the classic raw house tracks that inspired me.'

Created as both a tribute to classical house and a critique of contemporary assembly-line dance music, the 9-track LP lovingly defies convention at every turn. Opting for deep shuffles and hypnotic progressions, his drumwork is allowed to breathe in this deeply personal spectrum, with carefully sequenced percussion and haunting melodic work. The digital version includes a bonus beats club mix of Snakes, with two additional tracks from Shadows included in the LP.

Like many of his peers working in and amongst QPOC club architecture, Leonce takes personal and direct inspiration from resistance movements in contemporary America. His tracks reflect his own resistance, first weaponized for his own DJ use. There is a natural darkness to them, speaking to struggles in his own life and the constant violence against POC and queer americans. Insurgency is an artifact of symbolic black rebellion, and a sign of what's still to come for Leonce's productions.

Gato Preto's debut album - Tempo' contains everything, what is exciting about the international club-culture: rockin Favela-Funk from Rio, roaring township-grooves from South Africa and Angola's technoid electro-hybrid Kuduro. Sound creator & Gato Preto producer Lee Bass creates the basis for Femcee Gato Misteriosa and her portugese power-punchlines.No matter if in some hip electro-shed of Paris, at Zakk in Duesseldorf or on an international stage at the "Nyege Nyege"-festival located on the river Nil in Uganda - as soon as the - black cat', Gato Preto in english, comes along there is no escape.Equiped with digital effect-devices and synthesizers, supported by african drummers and dancers, Gato Preto fascinate their crowd from the beginning til the end and convince everybody around that global bass-power and progressive grooves out of the world's metropolises are un-stoppable.














- Tempo' can be seen as an invitation to escort both global-bass-travellers on an imaginary time travel into the past and to join them finding and exploring their african roots.
All songs on the album - Tempo' are composed as a 12-piece audio adventure of producer Lee Bass and Femcee Gato Misteriosa. Each song has its own story. Starting with - Moçambique' dealing with the bloody colonial history of the country. - Dia D' already has become a global dancefloor hymn and is an hommage to the track record of african pop music during the last couple of years. "Polícia' is a collaboration with Ghana-rooted rapper Delasi and critizes worldwide police violence. "Barulho" is Favela Punk and was written with global bass buddy Edu K from Brasil. The song "Pirão' searches for long forgotten traditions, cook recipies and african art of healing, interpretes those components in a modern way.
In the end Gato Preto manage the time travel - back to the future'. As open and self-confident Afro-Europeans they come back from the past to forcast new trends at the global pop sky.

Clark verschnürt auf "Death Peak" die verschiedenen Stränge seines bisherigen Outputs, wenn er die euphorischen Melodien und Rhythmen der Warehouse-Raves mit neuen Gesangs- und Chor-Arrangements verknüpft. "Death Peak" legt somit das Spannungsfeld offen, auf dem Clarks musikalisches Vokabular basiert: "Ich liebe es einfach, diesen Wendepunkt zu finden zwischen zwei Gegensätzen - die Stelle, an der es kippt. Meine Tracks sollen scharfe Zähne haben, aber man soll sie trotzdem auch noch streicheln wollen. Sie klingen klassisch, uralt, aber scheinen aus der Zukunft hierher gebeamt zu sein, sanft und doch zerstörerisch."

Mannequin Records is proud to present an archival collection from the what could be considered the genesis of Orphx's unique sound. Inspired by early industrial music and new waves of noise from Japan and Europe, the compilation is gathers together some of the best material from their first two cassette releases along with previously unreleased tracks recovered from the original 4 track tapes. TIP!

"Inhabiting this grey area between late psych efforts and early PINA (private issue new age), 1977's Pythagoron TM is an electronic oddity originally marketed as some sort of musical narcotic ( a new invention that gets you high with sound' original ads read) sold via magazines like High Times.

Shrouded by it's corporate-like design are two enigmatic side long suites of droning electronics which evoke similar autistic synth experiences like early Conrad Schnitzler, Lorq Damon, Udder Milk Decay or the whole Pascal / Narco Records output whilst recalling also more articulate efforts such as Steve Reich's early opus, Charlemagne Palestine's sinewave experiments or Eliane Radigue's synthetic bliss.

A truly bizarre artifact which was apparently the brainchild of NYC's early media art collective USCO (The Company Of Us) which already pionered inmersive sound/light environments fusing mysticism and state-of-the-art technology back in the 60's. Intriguing period piece."

Raül G. Pratginestós (Fauni Gena)

Comes in original artwork printed on silver cover in a limited edition of 500 copies only.

Horse Follows Darkness is the second record by Delia Gonzalez, her follow up to the album In Remembrance'.

The title is taken from a werewolf genre film her 8 year old son Wolfgang had created. At this time, Wolfgang also turned Delia onto a genre of cinema she had always resisted - the American Western.

Delia explains that what she observed was all relevant - the album is based on our personal experience of moving back to America (from Berlin) and the journey that followed. The record is a manifestation of that, and what one creates for themselves under the given circumstances. Coming back to America, I felt like a foreigner and NYC / America felt like the Wild West. Most Westerns from the 1960s to the present have revisionist themes. Many were made by emerging major filmmakers who saw the Western as an opportunity to expand their criticism of American society and values into
a new genre.'

The narrative of the record is one of re-encountering the frontier mentality that shaped the country but somehow never faded. This time as a foreigner. The genre of the Western remains pertinent, many of the same stories of that brutally deromanticised era are still relevant today. America hasn't changed - the cast, times and settings have, but we still hold onto the same ideal.

Horse Follows Darkness is essentially a modern electronic soundtrack for the Revisionist Western. Even the idea for the record cover is inspired by one of the most well known modern Westerns, Robert Altman's McCabe & Mrs Miller.

The album was recorded with Abe Seiferth at Transmitter Park studios, which Delia likens to going to the finest tailor'. Abe became an integral part of the recording, playing guitar and helping to suggest experimenting with different synthesizers, something Delia was keen to do. Delia refers to Abe as a magical and incredibly intuitive collaborator' regarding the sound of the record.

The music that emerged from these recording sessions combines a range of influences - from the compositions of Erik Satie to 'Salon De Musique', the solo piano record by Su Tissue (of the L.A. punk band Suburban Lawns). The record also took on a much different shape and sound with the introduction of the Sequential Circuits Prophet VS, as well as a vintage Korg Poly synth and the Roland SH-101. The golden era Krautrock recordings of bands like Neu!, Cluster & Harmonia were touchstones as well, the repetition, swirling soundscapes and locked-in rhythm tracks.

2015 liquid. Real music for real spaces.
Shouts 2 P. Santo

Cubicolor present their debut album - 'BRAINSUGAR' - to be released on Anjunadeep ("One of the hottest electronic labels in the world" - Hype Machine). Cubicolor have emerged as one of the most exciting acts to come through the European underground in recent times. Championed by Pete Tong as one of his artists to watch, praised by Mixmag, Spin, Clash, and DJ Mag, and supported by a host of heavyweight DJs, Cubicolor look set to break through with their anticipated debut LP.
The striking and alternative sound developed across a string of
acclaimed EPs on Anjunadeep and a remix for Howling (Âme's Frank Wiedemann & Ry X) on Monkeytown Records has found it's way into maby A List DJ sets including Sasha, George Fitzgerald, Kölsch and Joris Voorn Launched in 2014 with 2 members, Dutch producers Ariaan Olieroock and Peter Kriek, Cubicolor now welcome British vocalist and former Duologue frontman Tim Digby-Bell following much loved collabs. In his
time with Duologue, Tim produced, co-wrote and sang on tracks
acclaimed by the likes of The Guardian, NME, and The Line Of Best Fit. On 'Brainsugar' we hear an evolution in Cubicolor's sound across a host of diverse and infectious tracks. Beautiful songwriting with brilliantly cohesive clarity, echoing their influences, Radiohead, Massive Attack and Moderat to name a few. Tim's lyrical depth and haunting vocal style shine throughout.

The fourth release on Bjarki and Johnny Chrome Silver's bbbbbb Records, comes hot on the heels of the first. Two and three are limited run, vinyl only, hand stamped releases to be sought out from your local dealer.
Bjarki returns as Cucumb45 with the 5-track EP 'Something Weirdcore'. On the surface there are elements of jungle, breakbeat, techno and rave, but to say this spans genres would be an understatement - it defies them.
The title track instantly commands attention with breaks samples offset against indecipherable robotic groans and melancholic chords, but a sudden change of drum pattern shows this is more than a reprieve of known territory - it's a voyage away from the limits of tempo and genre.
This theme is explored throughout the EP by way of unnerving stripped back techno (Akureyri), electro with subtle inflections of dancehall (Comatack) and even a big beat/dub influenced jam (Music for Advertising). As Cucumb45 plays with genres as we know them, so he does with the emotional resonance of the release. Frequently switching from euphoric to anxious, each track is a testament to his incredible attention to detail. Simply put, this is music for those who hate to be labelled.

After three years punctuated by dodgy, European football streams and failing equipment, Bandshell's back In his public skin...

Just in time for the Australian Summer, Sydney's indie-electronic-popettes, Convaire bring the first and title tune from their highly anticipated debut EP, The New You

Lace Curtain is James, David & Mikey from Total Control, Rat Columns, Rank/Xerox, Eddy Current Suppression Ring et al, exploring an electronic world of pleasure, frustration and sadness. Bedroom dancers, synthetic singers, basement kicks in a romantic void. Influenced by the Germans, the Italians, pale British button pushers, glamorous alien pop futurists, Mid-Western sweat, NYC disco dreamers, undercover kings and queens escaping a dull grey world with rhythm and noise, sound and vision. 4-track EP with picture sleeve and digital download card.

Chad Valley ist ein außergewöhnlicher Songschreiber großer Popsongs mit Farbe und Freimütigkeit. Der Engländer kehrt nun mit einer erweiterten Vinylversion seines bislang erfolgreichsten Releases, der "Equatorial Ultravox EP", zurück. Gegenüber dem viel gestreamten digitalen Release, enthält die Vinylversion zwei Bonustracks und einen Cashmere Cat Remix des Highlights "Shell Suite", welcher im Blockbuster "Warm Bodies" gefeatured war.

Das Londoner Trio Little Cub veröffentlicht seine neue EP "Loveless" als Vorgeschmack auf ihr Debütalbum "Still Life" (VÖ: 28.04.2017). In London genießt die Band bereits den Ruf, einer der aufregendsten Newcomer der Stadt zu sein. Gepflegt subversive Bescheidenheit, opulente und bewegende elektronische Einflüsse ganz im Einklang mit dem hausgemachten, progressiven Britpop-Feeling. So versteht sich das Trio auch als Kontrastmittel zu der etwas geistlosen Musik mit Pop Appeal, die sie sonst umgibt.

Gondwana Records are delighted to announce the signing of composer, bassist and producer Phil France. A key collaborator alongside Jason Swinscoe in the Cinematic Orchestra, France was responsible for some of the most heartrendingly beautiful music created in recent times. Co-writing, arranging and producing on the Cinematic Orchestra albums including Everyday, Man With a Movie Camera, Ma Fleur and also the triple award winning soundtrack for The Crimson Wing nature documentary, France's skills have always extended beyond his bass-lines. France who signed a three album deal with Gondwana earlier this year, is currently working on new material for release in Autumn 2017, but first up is a worldwide re-release for his debut solo recording, The Swimmer, a beautiful beguiling "soundtrack" for a film that hasn't been made yet. Originally released in October 2013 it is deeply emotive and epic in scale and draws it influences from the great second wave of film composers including John Carpenter and Vangelis, as well as minimalist composers such as Steve Reich and Philip Glass. France's skill, in this album, as well as his work with The Cinematic Orchestra, is in soundtracking human emotion - The Swimmer is full of heartbreak and recovery, strength, honesty and frailty, it is meditative and hopeful. The Swimmer will be released on 27th Feb 2017. The Swimmer will be supported by three remixes: Joy Of Brass - Mr. Scruff Remix The Swimmer - Graham Massey Remix (808 State) Transition - Kristian Gjerstad Remix Full servicing to all key media with reviews in Mojo, Record Collector, BBC Music Magazine, Jazzwise and DJ Magazine expected. The album and mixes will be serviced to all key international DJs with support from Gilles Peterson and Lauren Laverne on 6 Music, Ross Allen, Patrick Forge, DJ Lefto and beyond.

Based on seven key themes, At Least traverses overcast atmospheres, physical bass hues and radiant melodies, synthesizing elements over a fine composite of sound design, polyrhythmic patterns and club-influenced design. astvaldur's debut album is a personal re-evaluation of the boundaries of the genres he draws inspiration from. His distinctive sonic textures encompass exploding percussion from the post internet age, repurposed orchestral sound bites, un-organic keys and a trained ear for monumentally expressive arrangements.
At Least will be released both digitally and on vinyl with a handprinted and stamped double layered artwork - utilizing organic and synthetic materials, representing the essence of the album.

Roberto Bosco has selected in recent months Kiny's music, to better prepare his first 12 ", consisting of four tracks, named 'Damaged

Memory'. The track Unknown (A1) leads off the dance of the release on Last Drop Records imprint. It's a proper exploration in an

unknown sonic territory to most of the people, and also a difficult element to make out for those who are novice to the visionary

component in the musical poetic of Kiny. The track starts with rounds of recurring sirens, almost deafening, framed by dark and

ghostly noises. Something not easily identifiable, ambiguous and unknown, as the title itself says, is perceptible in its sound. All this

helps to shape a bad presage that fades away into the mystery.



On the same side we find Pain Is Full (A2) that, according to the producer, was

born in a moment of pain which can be overcome only by fighting. In fact, the track is characterized by a more combative and insistent

tone, made up by the sound of snare and tom entering since the start and determining an atmosphere of contrast able to shake the

listener until the end. Shouts of encouragement suggest an initiation rite in which there is struggle for survival.



The titletrack, Damaged Memory (B1) has more quiet register with less ghostly vocals, perceived at times, unlike the previous tracks.

The sounds have a vanished effect, such as when you create a halo on a white sheet with the dust of a pencil just sharpened. You will

hear a sort of democracy among the sounds held together by the voice, a metaphor of a damaged memory, as the title itself recite, that

always makes the same process till the end: it commences by recalling but then forgets. Last, is the version of the producer Iori,

Damaged Memory (B2), on the same side. The Japanese remixer begins with a 4/4 architecture and well-articulated sounds, perfect for

warming up the dancefloor, a jolly track which contributes to the experimental tone, but invariably mystical of the entire release.

'Truth Is A Beautiful Thing' the follow up album to London Grammar's critically acclaimed, platinum selling debut 'If You Wait'.

Includes the singles 'Rooting For You', 'Big Picture' and title track 'Truth Is A Beautiful Thing'.

** 2LP COMPLETE WITH DIGITAL DOWNLOAD CODE & 7 INCH SIZED 32-PAGES COMIC NOVEL***

With "Songs For William 3" Ulrich Troyer presents the final part of his experimental dub trilogy. The hand-drawn bonus track is entitled "William - The Seven Year Itch". A comic novel narrating the story of a breakup from the perspective of a stomp box called William and a MS-20 filter clone named Charlotte.

The music of the album is oscillating between euphoria and depression - fascinating with hypnotic lines and solos played by various analogue and modular synthesizers, stomp boxes and effect units, recharged by sprinkles of guitars, melodica, talk box & vocoder. All ingredients are rooted in a massive and warm bass fundament and refined with forward thinking dub excursions. This time the project was not only supervised but also co-produced by Kassian Troyer (Dial). His crucial ears and suggestions and the final Stem-Mastering were significantly responsible for the unique overall sound character of the climax of this experimental dub trilogy.

The hypnotic opening track At Muff's Place arrives melancholic and introverted, evoking smoked out nights and all night long connections. Back On The Market with it's skanking offbeat chords and the charming vocoder line, lifts the mood of the album towards euphoria - William seems to be dating again. The irresistible groove of Dark Roots makes a deadlock impossible. Megalomaniac Microsynth slows down the tempo of the album and gives space to inventive future dub treatment. The catchy 8-bit & cyber-horn driven track Horny Chiptunes picks up the pace again. The journey continues with a G-Funk-feel infected track entitled Cruising Down The Belt featuring a talk box and an alpha juno synth strings line - perfect for playing on car sound systems while driving aimlessly through the city. The backlash of depression hits again: I Miss Your Noise is heavily featuring a paraphonic MS-20 and culminating into a big shoegazing Kraut-Dub drone. Alone On A Crowded Bus forms the sad and disturbing, but nonetheless beautiful end of this unique and fascinating journey.

Alleviated veteran Ben Jenkins launches his new vinyl label Partial Magic with Pittsburgh's Chase Smith. Chase turns in four cuts of percolating-hissing drum machines and squirting- gibbering oscillators. The whole quivering ensemble chugs with an electro snap and a steady dance mania clip until the cool- down of silky and sensuous pads on the closing track.

'Fear Eats The Soul' is the third release from Sordid Sound System on Invisible Inc. His previous two records 'In A Year Of 13 Moons' and 'Lux Exterior' have been getting plays from the likes of Andrew Weatherall, Manfredas, John Talabot, Idjut Boys and Thomas Von Party.

Describing 'Fear Eats The Soul' as a concept EP made by four imaginary bands from Detroit, New York, Paris and Munich, Sordid Sound System says:

'I'm pissed off with passive aggressive shabby chic artisan boutiques besieging my studio and complaining about the noise, I'm pissed off with coked up yuppy hipsters in land rovers taking over my neighbourhood with fancy restaurants with names that sound like fucking law firms, I'm pissed off at the resurgence of the far right and creeping fascism, I'm pissed off with self sabotaging English and American voters and the neo liberal corporate elites that have pissed away opportunities and alienated them, I'm pissed off with modern recording technology creating a sea of homogenous unimaginative beige bullshit, and I'm really pissed off that my favourite drummer Jaki Leibezeit is dead, but apart from that it's all good, enjoy the new record.'

Matías Aguayo and Gary Pimiento's Cómeme label has been specifically formed to highlight artists making dance music in South America.