Beats News

Ena revisits his Divided series with 2 unique releases compiling highlighted dissections of his live performances, further developed into individual tracks. HOROEX5 - Divided: Mind stretches out Ena's singular vision with 13 introspective slices of developed ambience. Fresh from collaborating with Rashad Becker for the Atonal Tokyo edition, Divided: Mind contains the kind of innovation that allows Ena to adapt perfectly to this electronic improvisation environment.

Fifth solo studio album from world-renowned scratch DJ, producer, composer and graphic novelist Kid Koala.
Kid Koala's first vocal collaboration / first time as lyricist / first instrumental composition and his first release on Arts & Crafts, following four albums on seminal electronic label Ninja Tune.
Icelandic singer-songwriter Emili´ana Torrini features on this first instalment of the 'Music To Draw To' collaborative series.
Kid Koala's lyrics tell a story of discovery and loss, based on the Mars 1 Mission.
Inspired by Kid Koala's interactive 'Music To Draw To' and 'Satellite' multimedia events.

'Music To Draw To: Satellite' is available as a deluxe sketchbook with CD, digipack CD, gatefold double LP and digital download album.
(The Deluxe Version of the CD is a limited edition 80-page foil-stamped hardcover sketchbook encasing a 20-page booklet.)

Fifth solo studio album from world-renowned scratch DJ, producer, composer and graphic novelist Kid Koala.
Kid Koala's first vocal collaboration / first time as lyricist / first instrumental composition and his first release on Arts & Crafts, following four albums on seminal electronic label Ninja Tune.
Icelandic singer-songwriter Emili´ana Torrini features on this first instalment of the 'Music To Draw To' collaborative series.
Kid Koala's lyrics tell a story of discovery and loss, based on the Mars 1 Mission.
Inspired by Kid Koala's interactive 'Music To Draw To' and 'Satellite' multimedia events.

'Music To Draw To: Satellite' is available as a deluxe sketchbook with CD, digipack CD, gatefold double LP and digital download album.
(The Deluxe Version of the CD is a limited edition 80-page foil-stamped hardcover sketchbook encasing a 20-page booklet.)

Erstmals auf Vinyl erscheinen die drei Key-Alben des Osloer Produzenten Helge Sten aka Deathprod, Gründungsmitglied von Supersilent, die zwischen 1994-2004 in CD-Miniauflagen auf diversen Indielabels veröffentlicht wurden und als Klassiker des Dark Ambient gelten. Alle drei wurden von Rashad Becker (Dubplates & Mastering, Berlin) von den Original-Tapes in neuer Top-Qualität remastered und erscheinen jeweils auf 180g Vinyl im schwarzen Gatefold mit OBI-Strip.

Erstmals auf Vinyl erscheinen die drei Key-Alben des Osloer Produzenten Helge Sten aka Deathprod, Gründungsmitglied von Supersilent, die zwischen 1994-2004 in CD-Miniauflagen auf diversen Indielabels veröffentlicht wurden und als Klassiker des Dark Ambient gelten. Alle drei wurden von Rashad Becker (Dubplates & Mastering, Berlin) von den Original-Tapes in neuer Top-Qualität remastered und erscheinen jeweils auf 180g Vinyl im schwarzen Gatefold mit OBI-Strip.

Erstmals auf Vinyl erscheinen die drei Key-Alben des Osloer Produzenten Helge Sten aka Deathprod, Gründungsmitglied von Supersilent, die zwischen 1994-2004 in CD-Miniauflagen auf diversen Indielabels veröffentlicht wurden und als Klassiker des Dark Ambient gelten. Alle drei wurden von Rashad Becker (Dubplates & Mastering, Berlin) von den Original-Tapes in neuer Top-Qualität remastered und erscheinen jeweils auf 180g Vinyl im schwarzen Gatefold mit OBI-Strip.

At bleedin' last, The Boats' gorgeous debut album Songs By The Sea (2004) turns up on vinyl! Along with first-ever vinyl issues of We Made It For You (2005) and Tomorrow Time (2006), plus a very special side of unreleased, unheard outtakes, Static Clings (2017) - which are all collected in the The Boats Archive boxset, you should snap these limited runs while you can as they're unlikely to appear on wax again.

Scrolling thru the mists of time to 2004, a very different world indeed, and The Boats formed as an outlet for Kraftwerk-addicted composer Andrew Hargreaves and his pal, Craig Tattersall, fresh from a decade spent with cult post-rock group Hood and as half of The Remote Viewer, to pursue the ideas of post-rock, modern classical and lo-fi electronica along more intimate, personalised ginnels of folk and ambient music, with the cherry on their home-baked treats provided by vocals from another close friend, Elaine Reynolds.

Songs By The Sea was their wistful and charmingly humble introduction to the world; ten tracks balancing exquisitely pop-wise songwriting with gently pulsing, elusive electronics and a patina of crackle that became a real signature of their sound long before everyone else cottoned on and starting putting out pale imitations.

At the time, it received heavy rotation in our record shop, Pelicanneck, and was something of a shared secret between fans from Manchester to Japan via their home-town of Burnley, and still owns a certain section of our memory banks to this day that's often triggered by the smell of coffee, waffles and toasted rye bread in the morning just as much as smudged Hulme sunsets in summertime.

We don't want to gush about it too much but, listening to it now, and on a format the album always quietly yearned for, it's just chokingly nostalgic in its own, low-key and endearing style and leaves little doubt in our minds that Songs By The Sea is one of the finest ambient-pop records to emerge from this region.

So, so happy to see this first ever vinyl edition of The Boats' second album, We Made It For You, released in 2005 and vailable here as a super limited standalone release - or collected in a boxset with Songs By The Sea (2004), Tomorrow Time (2006) and Static Clings (2017) - this necessary vinyl edition forms a typically tender and heart-warming follow-up to their much loved and influential debut.

On their second album Andrew and Craig coaxed out a purely instrumental suite, leaving Elaine to her own devices (she would return on Tomorrow Time) while they drifted off into the sweetest reveries knitting passages of frayed, breezy solo piano and electronics nodding to Harold Budd, William Basinski or The Caretaker with the kind of burbling, gently glitching rhythmic tributaries that you'd expect from Isan, SND or Jan Jelinek.

All the tracks inside are named after their mates (hope they still are!), and effectively forms a sort of sketchbook of meditations on each character or group, like the rugged, melancholy Miles, Sean and Bodie is definitely nodding to them Demdikes and their soundbwoy, and you'll just have to imagine the rest.

Compared with other releases of that era, it's dated remarkably well as a record and a sound, which is most likely due to their future-proofing patina of distressed crackle and the electro-acoustic sound sensitivity of their approach to the material, managing to convey a quiet, intimate beauty without ever overstating it.

Gorgeous music.

Next in The Boats' vital vinyl reissue series, their 3rd album Tomorrow Time (2006) finds Andrew Hargreaves and Craig Tattersall embracing a host of collaborators on a fuzzy, downbeat blend of ambient and indie-pop themes, wrapping fragile vocals from Elaine Reynolds and Chris Stewart (Need More Sources) to a patented framework of prepared piano, strings and elusive electronics in the wake of their instrumental duo session, We Made It For You (2005). It's the first time it's ever been on vinyl...!

With the benefit of hindsight,Tomorrow Time takes on a curiously prescient nature; arriving a year prior to the biggest financial collapse for generations, at a time when the 'authenticity' of folk music was fetishised by posh people as Wyrd Folk (or smth) and the other main cultural points of reference were either retro-indie guitar bands, IDM or boisterous grime and dubstep.

However, The Boats' combination of lower case pop with rustling electro and acoustic textures quietly stuck out like a sore toe, and when combined the aggressive title tracks points towards a quiet but growing dissatisfaction with perceived excess in music, culture, or at least the same old same old.

In that sense, the group's roots in avant garde minimalism and myriad other non-commercial and pop styles really come thru on Tomorrow Time, but carefully distilled into an absorbing, subtly detailed sounds they can claim as their own, and quite unlike anything before or since - although many have tried to imitate it!

OK this one's really special: technically Static Clings is the last record by The Boats; presenting material from their tour-only Typewriter (2006) CD and the Sleepy Insect Music (2010) compilation on vinyl for the first time, along with a great haul of unreleased outtakes and even a megamix of The Boats by Modern Love's Miles Whittaker (Demdike Stare) and Gaz Howell (G.H.) in their lesser spotted Pendle Coven guise.

It's essentially all outtakes c. 2004-2006 from their early releases for Moteer plus the aforementioned rarities, clutching 13 cuts which have been left to mature over the last decade or so, and now provide a slightly more scattered but ever-enduring overview of Andrew Hargreaves (Tape Loop Orchestra, The Mistys) and Craig Tattersall's (The Remote Viewer, Hood) cherished time together in this vessel.

We absolutely have to highlight the sublime History Of Tape Hisses for what sounds like Instrumentals-era Arthur Russell jamming with Jan Jelinek, and likewise Why You Wanna Do This, and Shlom, Sonia and Conor, cos, well, aww w ww ww, but also the ghostly vignette Danny Norbury, dedicated to the cellist and another key member of their fold, and also for the salty kiss of their distorted hymn May Our Enemies Never Find Happiness (Version), the wobbly oddity of You Didn't Expect Me To Care, and lastly the perfectly opaque pop of Pendle Coven's remix, which uncannily recalls Uwe Schmidt's Pop Artificielle output as LB.

Sad to say they might now have to decommission Craig's crackle-box (actually an old B&H packet full of trapped woodlice, the evil b*stard) but it's dead lovely to have this new slab of (old) material in our mitts and finally complete our full fleet of The Boats' catalogue.

Ta ta! X

Samurai Horo starts 2016 with the second part of Pact Infernal's concept release 'The Descent'. Split into 2 sections, both releases are collectively themed around the infamous 'Inferno' section of Dante Alighieri's 'Divine Comedy' poem from the 14th century. 'Inferno' is an allegory telling of the journey of Dante through Hell, guided by the Roman poet Virgil In the poem, Hell is depicted as nine circles of suffering located within the Earth. Allegorically, the Divine Comedy represents the journey of the soul toward God, with the Inferno describing the recognition and rejection of sin.

This dramatic setting is the perfect canvas for the music in 'The Descent' (Chapter II).Subtle ghostly echoes hang ominously over the entire release. Cruelly menacing with a perfected subtle brood dominating the overall atmosphere, Pact Infernal use percussion and mutated chants to massage their driving rhythms.

Preferring to stay anonymous has given Pact Infernal the ability to create an other worldly musical environment devoid of pre conceptions and human imagery attachments. Their sound has attracted people like Lucy from Stroboscopic Artefacts (who remixed The Descent Chapter I) and Samuel Kerridge. We predict many more converts to the Pact Infernal sound with the release of Chapter II into the world.

Support from: Ancient Methods, Bill Kouligas, Logos, AnD, Cassegrain, Marco Shuttle, Cio D'Or, Lakker, Inigo Kennedy, Manni De, Francois X, Edit Select, Ntogn, Pfirter and more
"Absolutely amazing and stunning. Genius work." - Lucy.

Im Frühling 2017 erscheint Odd Beholders zweite EP "Atlas". Zudem geht das Schweizer Indie-Elektropop-Duo auf Release-Tour.Odd Beholder verbinden introvertiertes Songwriting mit einem entrückten und dennoch beinahe nüchternen Sound. So erhaben wie ein leerer Parkplatz im Morgenlicht. Dabei ist Pop das Ziel, nicht der Ausgangspunkt: "Wir suchen unseren Weg aus dem Experiment in die Einfachheit."
Mit der Veröffentlichung ihrer Debüt-EP "Lighting", dem heimlichen Hit "Landscape Escape" und dem dazugehörigen in Aserbaidschan gedrehten Video haben Daniela Weinmann und James Varghese bereits Wellen geschlagen und wurden bei illustren Medien wie NOWNESS, i-D, ZEIT und Intro besprochen. Nach Einladungen zu Reeperbahn, Great Escape und m4music Festival sowie Touren im Vorprogramm von Hundreds, veröffentlichen Odd Beholder im April ihre zweite EP "Atlas" auf Sinnbus und Mouthwatering Records.

Ltd. to 300 copies,

NYC based artist Evan Caminiti breathes life into the Dust Editions imprint with the release of Toxic City Music. Caminiti has explored electro-acoustic music since the mid 2000's, the latest transmission being 2015's Meridian. While that album was Caminiti's first to omit electric guitar, he has now returned to the instrument. Here it is buried it in an electronic mist and melted down, it's sonic fabric reshaped.

Toxic City Music was inspired by the psychic and physical toxicity of life in late capitalism. Conceived throughout 2015 and 2016, Caminiti captured the sounds of NYC's machinery and voices before weaving them into his studio experiments. This collection of song mutations unravels in hazy plumes and serrated edges, concrète sounds mesh with disembodied strings and corrosive electronics on "Joaquin", drones ripple under stuttering rhythms and crude synth detritus throughout "NYC Ego". On "Toxic Tape (Love Canal)", layers of digital degradation smear guitar clusters, dissolving into a dubby devotional-ambient space.

The album was mastered and cut by Rashad Becker at D&M and features contributions from Jefre Cantu Ledesma and Rafael Anton Irisarri.

The first release on Bloc's new label features the emotive synth-drenched vision of newcomer Jake Chudnow. The blissed-out exaltation of Shona has soundtracked the resurgence of Bloc and we are thrilled to be able to make it available in circular format for people.


This double A side 12'' also features the virtuoso Prelude to Shona, a beatless, ambient exploration of issues which will remain unresolved until the listener embarks on Shona itself.

Written and produced by Mark Clifford and Scott Gordon. Cut and mastered at Dubplates & Mastering, Berlin by Rashad Becker

Artworks by Joseph Haesche

Editions Mego is proud to present the first full length self titled release from Oto Hiax. Comprised of Mark Clifford (Seefeel) and Scott Gordon (Loops Haunt) it follows on from last years acclaimed EP 'One'. Embracing a series of sonic opposites 'title' employs electronic and concrete sound to construct a labyrinth of moods sliding from basic repetition to complex audio suites. The mood is such that the listener is advised to embrace the unexpected as unusual elements gently drift across the audio plane. Exquisitely executed, this is no foray into generic sound design but a rich and complex ruse whereby seemingly jarring sonic elements play out a subtle and harmonious bridge between a variety of musical styles and genres. Insh carries the kind of hallowed kraut comfort that only seasoned professionals can harness whereas Eses Mitre disorientates in the most enticing fashion. Oto Hiax have produced an album of exquisite detail and beauty. Now is their time.

Temperature's Rising, the very first collaboration between Perc and Passarella Death Squad, came out quietly in 2010 and has since grown steadily into a cult favourite. Now it returns on Perc Trax, remastered for 2016, with the original vocal mix having a full side of vinyl to itself for the first time.
On the B-side is the 'Temperate Dub', originally created back in 2009 but which until now has remained unreleased. Dubbing out the original mix by reducing the vocal to a few echoing syllables it is a fresh take on an well loved favourite.
Released on transparent red vinyl

RM is acronym for talented Italian electronic musician Riccardo Mazza, also half of the noise duo Lettera 22. With his solo project RM released a few tapes (Second Sleep, 8mm) until 2016's Unfit LP on Joachim Nordwall's iDEAL, a murky, harsh-edged journey to a scary club environment. The Hierarchy Of Being is his latest effort and RM first release for Yerevan Tapes.

The previous rhythmic noise approach seems gone here and more variegated perspectives are examined. Just listen to H.b.t. and its kraut-jungle progression, or the disco-ambient of The Hierarchy Of Command and eventually the cosmic free-jazz vibes of the title-track. One deep study on contemporary electronic music.

Mondo are proud to present the soundtrack to Fight Club on Vinyl for the first time in over 15 Years. The Dust Brothers only film score to date, Fight Club is arguably one of the most enjoyable soundtrack albums to come out of the 90's and part of that has to do with the fact that it is one of the best sequenced scores of all time. Weaving all of the films cues from the film into 16 songs, the album winds up feeling like the best instrumental Trip-Hop album you've never heard. Buy it, or you will be incomplete. But be warned, this album is not beautiful, clean or perfect. It is not Mint, or even VG+. It is Fair at best. Just like you.

You are not your record collection.

Yves De Mey turns out a trio of razor sharp and bendy modular synth steppers
Loyal Subjectivity is Yves De Mey's second EP for Archives Intérieures, the label he co-runs with Peter Van Hoesen. In the EP's three tracks, repetition unfurls to reveal elemental rhythms. Combined with its pronounced spatial awareness, Loyal Subjectivity bridges the gap between De Mey's Counting Triggers release on Sandwell District (2011) and his Drawn With Shadow Pens album on Spectrum Spools (2016). Loyal Subjectivity marks the first vinyl release for Archives Intérieures as a limited pressing of 100 copies. Composed and mixed by Yves De Mey. Mastered by Peter Van Hoesen.

ASHXXX001 sees the return of Ash Walker with this underground banger, strictly for the heads!

A-side 'Train Wreck' is a low-slung, sultry and bass-driven track. It combines swung high hats and trumpet stabs with moody vocals and guitar chords - all underpinned by a powerful walking bassline. B-side 'Trees' is more indebted to hip hop, and carries with it the influence of classic Ninja Tune, DJ Shadow and The Herbaliser. Again, a deep bassline is used, which proves to be the driving force behind the track's boom bap drums and glassy, reverberant keys.

In the hands of the right DJ, these versatile tracks could sound great in a variety of settings - from jazz clubs, to soul and funk nights, to bass-orientated club nights.

Ash Walker has recently gained some really impressive support from across the scene, from DJs such as Gideon Coe and Gilles Peterson at BBC Radio 6 Music, Dom Servini at Wah Wah 45s and Rob Louie at Tru Thoughts.

ASHXXX001 will be released as a limited edition white label 7" ONLY

Over the past years Bézier has seen releases under the Dark Entries record imprint with the most recent 'Telomeres' EP this year. The title track or pronounced 'mina' translates from Japanese to 'Everyone'. Mina is a journey through space with the initial ascent marked by a moody window of time in which uncertainty dominates the mindset of the passengers. Once they break through the atmosphere and are proceeding as planned they land on the final destination, an interplanetary discotheque. Mina was recorded this year with Mark Pistel on the helms for mixing and features SF drummer Kevin Woodruff of Tussle fame providing live drumming for the last portion of the track. Along with the title track the b-side includes tracks previously released on compilations but appear here for maximum record playing enjoyment. 'Serengeti Drive' which appeared on Honey Soundsystem's earlier HNYTRX compilation of queer dancefloor artists is the slow burner of the group. 'Mysteries of the Deep' which appeared in the JACKTONE cassette compilation of Bay Area electronic stars is the soundtrack to an underwater expedition. Both tracks were recorded, produced and mixed by Robert in his home SF studio in 2009.

London's avant prism-pusher Dale Cornish debuts for Rabit's Halcyon Veil imprint with an acute distillation of pointillist rhythms, stark noise and contemporary politics in the barbed bouquet of Cut Sleeve, following a multi-pronged attack on 2016 which saw him issue singles with Where To Now and The Wormhole, plus a remix of Billie Ray Martin and a guest vocal on Powell's Sport album.

Stripped to the barest truth of biting drums and his own vocals rent within acres of negative space, when compared with his run of solo aces for Entr'acte and The Wormhole, the six tracks of Cut Sleeve conversely amount to some of the most corporeal works in Cornish's solo catalogue whilst serving to neatly intersect the Halcyon Veil aesthetic from both mutual and personally developed perspectives.

Dale wears his politics explicitly and suggestively on Cut Sleeve. Starting with the nagging reminder that 'in 2016 it is illegal to be gay in approximately 75 nations and regions around the world' delivered in acrid noise and a slurred tone that makes sure the message rings out slowly and uncomfortably, the session presents in reductionist take on UK and US club music in brittle, certain, and uniquely, drily f*nked-up terms, taking on skeletal steppers templates in Cut and chasmic darkness on LW or Vauxhall, before feeding his own, bestial vocals back into the mix with a blend of glossolalic deviance, cryptic poetry and stoic funk in Emperor Ai.

'Bedouin sent me samples of music from the Arab and Islamic worlds to use as source material for an EP. I was so inspired by the material I wrote over thirty tracks. My intention was to be true to its sonic qualities and resonances, but bring it stylistically into my own world of contemporary electronic music. I approached this in the spirit of cultural exchange, conscious of my privileges as a white western male able to work in this way — only scratching the surface of another culture — and wary of the implications of this kind of appropriation. But this was a project born of love and deep respect for the source material, the traditions, the religions, the art and the music of this part of the world.
'Bedouin Trax reflects all this. Unity. Togetherness. Exploring the darkness and light in humanity to find our similarities, to find a way to connect with all people, from all diffent cultures and backgrounds. Salem from Bedouin said that some of the Sufi songs he had sent were songs about love — 'towards an entity of oneness'. This phrase informed the entire project.'

Kofi Holmes Attivor aka Mined is - quite literally - a man of many names. Born to a Ghanaian family in Tooting in London, this electronica newcomer, philomath and a Molecular biologist
was given eight names at birth. Raised on the RnB and soul from his parents record collection, he was granted his wish to get his first 'sleek, silver Casio'. Putting his musical experiments on hold, Kevin went pursued his other passion of science at University of York and a Molecular Cell biology degree. While investigating the sonic landscapes of Brian Eno's 'Music for Airports' and the work by artists like Spooky Black, Majical Cloudz and Foals, he
started developing his own sound that embodied his philomath pursuits. Mined deals with his emotions with brutal sincerity while placing these lyrics in a sanctuary-like, pastoral sonic
sphere, gravitating towards the tranquility of James Blake, Caribou and Boards of Canada. 'I've always been more drawn to poignant honest music that evokes a sense of melancholy,
or sadness or nostalgia', he explains. Written in his room in London, his tracks were created as a form of escapism. Partnering up with the filmmaking duo The Rest (Jungle, Little Simz) and illustrator and Stormzy collaborator Sam Adefe to visualise the crisp richness of Mined's quintessential British electronica.

Welcoming back our early label recrute Maoupa Mazzocchetti delivering the long-awaited follow-up to both his debut releases on Unknown Precept. Emerging back in 2014 to then become an esteemed music maker in the inner-circles of the underground community, the Brussels' based sound artisan quickly established himself as a complete artist made of a peculiar and inexhaustible surge of inspiration — always making sure to stay off the beaten paths while exploring the nooks and crannies of his disturbed and facetious mindset throughout his latest productions. Infinite Glance Court is a condensation of this diverse inventiveness, an intimate and minimalist journey borrowing as much from John Bender as the European dance tradition of the late 1980s. It shows the French producer asserting once again the essence of what makes his brazen style thanks to the dancing jokes and corroded ballads which he alone holds the secret of.

Mumdance & Logos cut deep into the uncanny valley between grime, noise and ambient musics with the shockingly diverse Weightless Volume. 2, volleying five tracks from label fammo FiS, Shapednoise, Inkke, Sharp Veins and Yamaneko, plus the duo's own, frankly massive Cafe Del Mar zinger.
With the label still hot from the Mumdance & Logos Presents Different Circles mix CD, this EP touches base with five new artists whose individual sounds have been crucial to the make-up of Different Circles' club sets and on Mumdance and Logos' respective Rinse FM shows ever since their label's inception.
You couldn't ask for a stronger indictment of where Mumdance and Logos are right now than Cafe Del Mar; an outstanding piece of work stacking lush modular synth pads to the rafters and socked with cavernous, inverted kicks, forming the closest you'll ever get to a weightless sunset anthem from these two original nuttahs.
Trust their bandmate in The Sprawl, Shapednoise, to twyst hard away from that sound with the invasive contortion of Deep Core Consciousness, which feels like the first efforts of communication from a neural network of heavy machinery, and is proceeded by the impeccably smooth contours and thizzing glassy licks of Yamaneko's Shadow Temple.
On the B-side, Kiwi producer FiS follows his exclusive contribution to Mumdance's Fabriclive 80 mix with a deviant diffusion of the elements in Angels Of The Water Table, while Glasgow's Inkke shoots from the hip with the blinding hi-wire hooks of Pioneer on a boisterous, beatless grime flex, and Alabama, USA's Sharp Veins holds a bittersweet suspense to the edge with his dizzying mini string symphony, Already Bones.

Tucked away in a now not-so-quiet corner of south east London, Wholemeal have been quietly, unobtrusively Getting Shit Done. Wholemeal Music's freshman release hits the shelves this month featuring two cuts from YAM Records boss Tom Esselle and a hoofing remix from fellow south-Londoner West Norwood Cassette Library. Skilfully treading the line between House, Techno, and Jazz, the A-side, Until She Spoke is a superlative exercise in light-touc h sampling and devastatingly effective Rhodes work. It shuffles then stomps, hypnotises then elates, bringing together disparat e threads to create something for the head and the heart. The title track, Garibaldi, maintains the light-touch sampling thread and then takes it to a whole new plane of drum-driven dancefloor detonation. Twisting chord hits whirl around a savage interplay between bass and drums before dropping back to an elemental pounding, bypassing the brain and heading straight for the feet . Long time Wholemeal friend and serious contender for The Nicest Man In Music award Bob WNCL has very kindly picked up Garibaldi by the scruff of the neck, grafted an enormous pair of junglist balls onto it and kicked it screaming across t he dancefloor. This is about as peak-time as it gets. Wait for the wall of bass after the second drop, it's enough to stop you breathing.

Fourth EP on FireScope Records the new sub label of the legendary B12 Records. This release is by B12, UK techno at its finest. Established early 90's with a multitude of releases appearing on Warp Records UK, B12 Records, Soma Records, Delsin Records, FireScope Records, ART , Buzz, De:Tuned The EP entitled MindBender is about mental torment / torture / unrest and control. The tracks are heavy and describe an environment of captivity and pain. External or Internal - it is all the same.Last Man Standing' Heavy pounding beats drive the track, like an eternal pounding of ones brain while a crazy demented conduktor; conducts an orchestra as the band plays on Red Wilderness' Solitude, abandonment, loneliness and despair, the track conjures up images of being alone, afraid, broken. Simplistic drum programming and harsh strings carry us on this journey into a baron place Experiment Camp Alpha' Not a nice place to be. Originally written as a soundtrack for an old abandoned building in a park. A place where awful things could happen. Wonderful string / pad arrangements interleaved with a bass line constantly morphing as is frequencies are rolled in a evolving story telling way. Is there a way to escape Into The Mist' A head bobbing track; a constant tom like percussion moves this track along accompanied by bass line and choir - once the minds have been bent out of shape; into the mist we must go Finished in glorious purple and black splatter vinyl with exclusive full colour artwork by the wonderful Sarah Sparkes

* BRAiNMATH returns from a three year hiatus with a woozy 12' of Dubstep & Electronics from Acre, following up his incredible debut album for Tectonic.
As always - limited info, limited pressing.

Presenting Elko B.'s debut on Ekster: 'I Bambini Di Basilisco'. 12 tracks pressed on 180g vinyl with pantone printed inner- & outer sleeves and silk screened plastic over-sleeve. Includeds Download Code. Special again from the Ekster crew.. TIP!
Considering Elko Blijweert's been active in the Belgian music scene for about fifteen years now, it comes as quite a surprise that "I Bambini Di Basilisco"is only his first ever solo album. Known mainly for his virtuoso yet ever idiosyncratic guitar playing, Elko B. treats the listener to much more than just that. With the exception of the heavily guitar-driven western pastiche "Cochon Torrero", the emphasis here seems to lie on dark Carpenteresque synthesizer sounds as well as jolly child-friendly melodies, blips and beeps. The twelve pleasantly concise songs, mainly based on compositions Blijweert made as soundtrack material for contemporary dance theatre and children's puppet theatre, beautifully blend together into a whole as the listener is presented with a unique glimpse inside the wide-ranging imagery that is Elko B.'s ever-expanding musical world.

Following the reissue of the entire recorded output of South London-based experimental act This Heat and its successor, Camberwell Now, Modern Classics Recordings holds the lens up to a special split album created by one of the driving forces behind those groups - drummer Charles Hayward - in collaboration with Italian musician Gigi Masin, whose looping, rhythmic, electronic compositions have seen his cult following grow in his four decades as a recording artist. TIP!!Originally released on Belgium's Sub Rosa label in 1989, Les Nouvelles Musiques De Chambre Volume 2 is a split LP on which Masin's eight tracks occupy side A and Charles Hayward's long-form piece (at 21 minutes long), "Thames Water Authority', occupies side B. Geography may have separated the two artists, who each recorded their pieces in isolation from the other, but there's a commonality to their approach. Previously, Masin had released the inspired 1986 album Wind, while Hayward's music had long been influenced by the landscape and society of London and the UK.For this album, the label challenged the two musicians to write about the waterways of their respective cities, Venice and London. For Masin, that meant describing the human interactions related to the Italian city's famous landmarks. 'Places, faces, memories... that's what most of the people love to find when they travel to Venice - some kind of magic that's deep in the city,' he writes in the new liner notes accompanying this new re-release.
For Hayward, it meant describing the physicality of water, the 'densities and energies' as he puts it, and the politics of it too. Writes Hayward: 'Water was being privatized at the time, the profit margin had been factored in, cost-cutting was implicit, people were being poisoned. Water was a political thing; it still is.

* Kebko Music is Tokyo-based Akiko Kiyama's independent music label focusing on releasing avant-garde music which is not bounded by any specific genres but embraces the whole range of techno, experimental music, field- & live-recordings and classical music. The label owner established her name by Richie Hawtin featuring her track in his well-known DE9 Transitions mix in 2005. Since then, her music style has gradually changed to explore the edge of electronic music. The core of the label is based on small handcrafted editions of cassette tapes. It aims to give a chance for all of artists and listeners to explore their musical experience and creativity.

* Akiko Kiyama was born in Tokyo, Japan. Since her youth, she was surrounded by classic music education and had been playing piano for 20 years. Her music career has started since 2004 since her debut EP "Dimension" on Sud Electronic(London) which got great supports from renowned DJ & Musicians like Mad Mike, Richie Hawtin , Sven Vath, Ricardo Villalobos. And in November 2005, her track " Like Ancient" has been licensed by M-NUS records ,and is appeared on DE9 Transitions by Richie Hawtin. In 2007, She moved to Berlin to follow through with her commitment to dance music and to develop her style further. She also released several singles on reputable labels such as Contexterrior, Lick My Deck, etc and her first album "7years" came out on District of Corruption under Kompakt. Since then she has been playing in Europe, North & South America and Japan widely, including her main acts at Fabric London and Panorama bar Berlin.

* This is Akiko Kiyama's 4th full-length album, stemming from two years of exploration outside her established dance floor inclinations, boiling down her sound to its essential organic grooves, intricate harmonies and eery atmospheres. The nature of her organic grooves lies within inter-sound gaps, carefully crafted to lead the listener through time distortions and into an hypnotic solitary world where music is breathed, not played. A sound imprinted of a definitely human character and vigor, yet sometimes ambiguous, fleeting, and capricious. From her peculiar sense of harmony and rhythm, and a meticulous minimal approach to composition, emerges rich lyrical lines forming a unique musical universe that few has had the chance to hear yet.

When the Peruvian duo Dengue Dengue Dengue first broke into the scene, the world immediately surrendered to their mesmerising blend of traditional cumbia with the modern electronic rhythms of dub, techno and dancehall. After making this local movement gain international attention with their celebrated debut album 'La Alianza Profana' and the followup 'Serpiente Dorada' EP on Enchufada, the masked duo from Lima is now ready to evolve beyond their musical influences and come into their own as their sound develops into something truly unique with their new album 'Siete Raíces'. Taking its name from a traditional Peruvian liquor - a potent beverage brewed from several jungle plants with mystical and aphrodisiac properties - 'Siete Raíces' is a suiting metaphor for a band whose distinctively hybrid sonic recipe has been perfected over the years. From their first single 'Guarida (feat. Sara Van)', where they introduce a melancholic vocal component to their sound for the very first time, to Murdah's frantic juke influences or Badman's tarraxo leanings, Dengue Dengue Dengue set out to expand the unique hybrid cocktail of sounds that has put them on the forefront of the global club music movement. 'Siete Raíces' fully embraces South America's rich musical traditions while taking these cultural references towards the future, powered by thick bass lines, ethereal synths and dusty samples. Striking a captivating balance between tradition and modernity, Dengue Dengue Dengue pick the best of both worlds to expand their unique sonic universe, where the rich mystical ambience of the Peruvian Amazon is translated into an elevating experience for the world's most forwardthinking clubs and festival stages.

After ending 2016 with a host of end of year list mentions, Timedance returns for its first record of 2017. Label boss Batu takes the reigns to present three shapeshifting beat experiments, packed full of twists and turns. 'Murmur' is focussed around a single stuttering beat pattern, played across multiple instruments. After its initial stark drop the track evolves into a more measured form, whilst still ramping up its mind-mashing dancefloor purpose.Groundwork expands on the theme of subtle, but effective grooviness. Synth lines rise into bursts of spacious noise, ascending into the stratosphere before being clamped back onto the tenacious but constantly developing rhythm. 'Whisper' concludes the EP with giant throbs of sub and woozy but visceral pads; fading into a sea of reverb and modulation. It ends a release full of unpredictable and striking moments that have become synonymous with the label.

REPRESSED !!
Comprised of Bristol based sound artists Adam Winchester and Christopher Jarman,
Dot Product comes to light in a swathe of noise, tone and texture.

Through years of research and experimentation the duo have sought to explore the creative potential from the inaudible fog of electromagnetic radiation, the internal resonance found in the negative space of an object, the circuitry of discarded electronics, and other such less-travelled paths of sound generation. In harnessing these clandestine sonics and bringing them within a listenable range, the resulting collages of sound have been shaped into a form that nods to the legacy of uncompromising British experimental electronic music, from early industrial savagery to bass-heavy soundsystem pressure. Such reference points are abstract though, for within the truly unique array of sources at their disposal, Winchester and Jarman have a new dialect in which to communicate.

Crucially, while there may be a scientific approach at the heart of the Dot Productmethodology, the results are far from clinical. There are subversive rhythms aplenty throughout the album, from the jagged ripples of 'Skafander' to the slow, dread-fuelled march of 'Springs'. There is also space for touches of melody; 'Atmosphere Processor' swoons with blue-hued melancholy, while 'Ice Patches' stalks on an ominous bass mantra.

After sharing the initial results of their research, the pair performed select live shows in Bristol and London, as well as being commissioned to create a sonic interpretation of Swedish horror film Let The Right One In. This debut album on Osiris is the culmination of these initial steps, these 9 tracks representing the most complete document of the Dot Product sound to no repress

PTP is proud to present the debut album by Eaves, entitled Verloren-the first release inits post-Purple Tape Pedigreeincarnation. With the combination of his academic history in architecture and long-time interest in the internet both being inextricable from his music-making, this album sees the Brooklyn-based producer placing a lens to the relationship we have with digital environments -operating in the uncanny valley in which we seem to find ourselves. Using last year's GORILLA as a conceptual and sonic blueprint, Verloren, or lost' in German, progresses from the former's four movements and examines our role as a detached audience on a macro level. These 16 tracks continue to explore the relationship between sound and physical structure. This time, Eaves drifts through fictional representations of our world in the future, finding that our present day seems to mimic them. Verloren exists in a liminal zone, where the screen tears and everything is greyed-out and blurry. Although there is a sense of fleeting chaos throughout, each track seems to sonically map out a landscape within this cataclysmic sphere as Eaves travels across it. Ruin, memory, and the role speculative projections play in the way we interact with these concepts is central to Verloren, as is attempting to understand how we process all of this emotionally. Strings and synths swell over ominous beats, mysterious human-like sounds are buried under layers of sonic bombardments. Eaves also interprets Verloren as a warning - if reality mimics our ominous, fictional projections of the future, it's clear that our current systems aren't resisting as much as they should be, orperhaps we will always follow the fictions we create.

Nach ihrem ersten generationsübergreifenden Zusammenarbeit, "Late Night Endless" (2015), begeben sich die beiden Protagonisten zu spannenden, neuen Soundexkursionen in eine Vielzahl von Subgenres wie nervösem Funk, Industrial-Drone, Jungle-Rave, Cosmic (zu gesprochenen Weisheiten von Dub-Meister Lee "Scratch" Perry), furiosem Synth-Grime und trägem Breakbeat (im Cover von Ryuichi Sakamotos "Merry Christmas Mr. Lawrence"). Neben Lee Perry begrüssen Sherwood & Pinch auf "Man Vs. Sofa" weitere illustre Gäste wie Martin Duffy (Primal Scream), Taz (Dizzee Rascal) und Skip McDonald (Sugarhill Gang, Tackhead, Little Axe).