Beats Novedades

Kid Millions (aka John Colpitts) is the man behind the kit in Oneida, Man Forever and People Of The North and is one of New York's most versatile and critically lauded collaborators. 100 Disciplines originally premiered at the Brooklyn Museum of Art as part of a concept Colpitts formulated in partnership with Red Bull Music Academy. The piece features an incredible variety of percussion instrumentation including five different sized timpani, an assortment of Thai nipple gongs, amglocken, crotales, vibraphone and more, as well as four singers. Joining Kid on the piece are Brian Chase (Yeah Yeah Yeahs), Georgia Hubley (Yo La Tengo), and Amy Garapic (Tigue). The title of 100 Disciplines is a reference to Sun Ra's Disciplines - pieces Ra wrote for his Arkestra members to run through in order to hone their true nature through their instruments.

Kuba Kapsa is a Polish pianist and composer being the leader of the avant-jazz combo Contemporary Noise Sextet (2006-2014). Beyond that he is a renowned composer for film and theater plays. His latest venture is the first of a sophisticated series of projects of modern classical music bearing the common title "Vantdraught".

The first part of the "Vantdraught" series was called "Vantdraught 10 · Vol. 1" and featured ten classical instruments - 4 violins, 2 violas, cello, vibraphone, marimba and piano. The now appearing second part is "Vantdraught 4", a quartet album written for violin, clarinet/bass clarinet, trombone and piano. The minimalistic style of Vantdraught 10 is preserved although the music is less repetitive and much more intimate. Instinct and intuition is the main force behind the writing process, usually avoiding typical chord progressions and the classical cadential technique. In contrast to "Vantdraught 10 · Vol. 1", the rhythm domain is also less important, thus allowing the melody and harmony to come to the fore. The pieces of "Vantdraught 4" are mainly tonal music but Kapsa also makes use of atonal and polytonal harmonies which requires the listener to put more effort into listening to these parts. The unusual set of instruments is what makes this quartet album unique and fresh sounding. "Vantdraught 4" is certainly linked to classical and minimal music in general but one can find other influences such as jazz and "new music".

Much like its predecessor, "Vantdraught 4" features an astonishing artwork based on "The Reluctant Conscript" by the seminal artist duo Kahn & Selesnick.

Having never met before entering the studio together, harpist MARY LATTIMORE (who has collaborated with Thurston Moore, Kurt Vile, Jarvis Cocker and Meg Baird to name a few) and koto player MAXWELL AUGUST CROY made an album in less than 48 hours, all live with no overdubs. Lattimore experiments with effects through her Lyon & Healy Concert Grand harp. Croy is a multi-instrumentalist whose work fluctuates liberally between melody, classicism and experimentation.

Terelan Canyon is a new' sound built on interplay and improvisation that explores space and form, with virtually no ego, filled with sonic imagery and a tapestry of emotions. Epic and beautiful, this recording is a special moment captured in time.

REPRESSED !!

Conceived as a kind of sequel to 2012's Sleep Games, there's an epic sensibility to Stasis. The haunted concrete caverns of the earlier album give way here, to vast, awe inspiring spaces. The album has a strong narrative flow that can be read either as the soundtrack for an interplanetary voyage under suspended animation, or the exploration of vast inner realms under some other form of technologically enhanced sleep.

Martin Jenkins' unique production sound is unmistakable: Carpenter-esque slow kosmiche disco and ambience, woozy synth melodies and somnambulistic grooves with soft, rich textures.

REPRESSED !! Ltd. to 1000 copies
In 1980, Genesis P-Orridge and Peter 'Sleazy' Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word 'cut-ups', collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations. By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as 'Nothing Here Now but the Recordings'. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.

In 1980, Genesis P-Orridge and Peter 'Sleazy' Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word 'cut-ups', collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations. By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as 'Nothing Here Now but the Recordings'. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.

In 1980, Genesis P-Orridge and Peter 'Sleazy' Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word 'cut-ups', collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations. By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as 'Nothing Here Now but the Recordings'. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.

Hey, do you remember how much dance music owes to experiment and coincidence Quirky 7'' release from Lutto Lento is kind of danceable but also raw and harsh, maybe hypnotic First track sounds like a dark twisted fantasy about carnival in some cheap tropical spa. The other one will reach your guts and throw them upside down. Hell yeah.

Step into Arabxo Ishara: Abu Ama's dubwise tales of Turkish traditional song, sufi ghosts, Syrian locked grooves and Indonesian field recordings. Snatches of UK pub talk strung together with rumbles of sub add to the disorientating lack of place - wherever you are, you're arriving here for the first time.

Abu Ama lives in West-Germany, talks of his gypsy roots and vague links to Spiral Tribe. He can often be found teaching local refugees English at the weekends. Arabxo Ishara follows releases on NY based darkwave collective Hexx 9. After some discussion he sent Bokeh Edwards almost 500 demos: 'pick some' he said.

The sixth release for Bokeh Versions follows 4 sold out tapes, Album of the Week on Bleep for the Seekersinternational LP, and a mix for the esteemed Blowing Up the Workshop series. With the help of their monthly NTS slot, Bokeh Versions is exploring new directions in dub and beyond.

Early support coming from Inverted Audio and Bandcamp Weekly

R&S sister label Apollo are very proud to announce a four-track EP from James Leyland Kirby. Mastermind behind arch sonic provocateurs V/Vm as well as the more contemplative The Caretaker and The Stranger, Kirby has been responsible for some of the most unique, subversive and moving electronic music of the past two decades. Following a quiet 2012 and 2013, the EP marks both his Apollo debut and his first release since 2011 under the Leyland Kirby alias - an outlet for his most personal and reflective work.

Like 2011's acclaimed Intrigue & Stuff series, its four tracks flit between moods, from gorgeous, skin-prickling surges of ambience to cryptic rhythms and intricate, jazzy techno. As with all of his Leyland Kirby music, they're played in a manner so tactile and reflexive as to seem like direct reflections of his thoughts and memories. The melancholic drift of 'Breaks My Heart Each Time' builds to an dense, harrowingly beautiful climax, while 'Last Ditch Legacy' strafes a watery beat with blast upon blast of overdriven fuzz. 'Diminishing Emotion' strips away everything save soft synthlines that trace glowing arcs through an otherwise silent world.

Last summer, four years after Loefah first floated the idea of a Mickey Pearce album, Mickey sat down to write a mixtape of loops - a sequel to 2014's 'Up West' - but found himself in new, melancholic territory.

Less than three months later 'Michael' was written.

Ahead of the radio premiere of 'August', Mickey told Mary Anne Hobbs: "The whole album was written in a short space of time last summer... (it) just sounds like me in August 2015. I haven't written anything that sounds like it before or since."

Mickey has also developed a new live show that translates the album for the club environment. The live performance follows the arc of the record, adding layers of improvisation and a solid core of drums that place it in a club context.

Road-tested at 81 sessions in Berlin, Leeds and London, Mickey debuted the full live at Peckham Rye Music Festival earlier this month.

Following the release of 2015 debut EP, 'Green Eyes' — a record that followed two outings on the label's 'Kings' compilation series in 2013 and 2014 and a contribution to Boxed's debut 12', 'BOXED001' — Spokes returns to Coyote Records with new EP, 'Flight'. Consisting of four tracks, 'Flight' showcases an evocative, maturing sound and Spokes' flair for original sound design — as testified by the dwindling space and eerie, pitched-up vocals of NYC singer-songwriter, Anna Folwell, utilised on opener, 'Failed State'. The grand, ceremonious intro to square-wave grime flip, 'Mercurial', is also a highlight, while title-track, 'Flight' — a dreamy, washed out, beat-tape cut — again sees Spokes explore new dynamics to his sound. Latest Coyote signee, Miami-based producer Marks, also makes his bow for the label on 'Flight', turning in a crunchy, clapped-out remix of the title-track, ahead of his full debut EP in 2017.

On Monday 23rd September 1996, Fatboy Slim (Norman Cook) released his debut album 'Better Living Through Chemistry' through the renowned independent dance label Skint Records. It was the starting point of a roller-coaster journey that has gone on to include massive hit singles, multi-platinum selling albums, three Brit Awards, a Grammy, an Ivor Novello, 10 MTV Awards, the 2012 Olympic closing ceremony­ and worldwide DJ superstardom which continues to this day with a hectic schedule of DJ performances and festival headliner shows.

This album celebrates where it all began - the brilliant original album - a seminal dance music moment in history, and expands on the story with a whole disc of bonus tracks including recordings from the Fatboy vaults that have never been released before. The 2CD expanded edition includes sleevenotes from Skint label founder Damian Harris.

2016 has seen an incredibly busy schedule for Fatboy Slim, he's taken on his first Ibiza residency at Cream, Amnesia throughout the summer, he's appeared as the festival headliner for Snowbombing(Mayrhofen, Austria), Lost Village Festival (Lincolnshire), We Are FSTVL (Upminster), Riverside Festival (Glasgow), We Are Electric (Netherlands), Sónar Festival (Barcelona), Glastonbury, Bestival (Dorset), Belsonic (Belfast), and Creamfields (Liverpool).

The Night Rave Before Christmas
To see the year out with a bang, Fatboy Slim will be hosting two giant shows in spectacular arenas. On December 9th he'll take over The SSE Hydro in Glasgow, and on the 17th he'll take over The O2 in London. The shows are 'in the round' which according to Fatboy himself will mean '360 degrees of smiley sound & vision'.

Even though 'Darkness On The Edge Of Ecstasy' is the first album by Jonatan Bäckelie under his given name, the singer from Gothenburg is not a newcomer at all. Under the moniker Ernesto he already released four rather jazzy longplayers. As Pinku Vääty or Jong Tan Bäckelie takes care exclusively of his electronic
productions. And over the last few months and years he collected international acclaim as a gifted guest singer. For example on Alex Barck's debut ('Reunion') on Sonar Kollektiv. As the title might suggest, - Darkness On The Edge Of Ecstasy' is a sombre, but never pessimistic collage of modern pop music not holding back with emotions. Bäckelie produced, arranged and recorded the majority of the twelve songs all by
himself. 'Circles' is a captivating club track, and - as the opener of the album -arouses expectations massively for all the things to come. The following tune, 'It Could Go Either Way', though is something like a ballad with a menacing synth
line and a prickly bass sound expanding the listeners' horizon by another dimension. This variety continues throughout the whole album. 'Song' is a cover of a tune by blue-eyed soul legend Lewis Taylor. On 'When Your Phase Is Gone' Bäckelie collaborates with his old companion Paul Lachenardière and the guitar
player David Orrebäck as well as the string player Måns Carlsson. But we'll also get instrumentals like 'Weapon Together' with which the Swede shows off his producers skills impressively.
These skills are so well-versed that a track like 'I Don't Know' had to be split into Part I and Part II. It seems like Bäckelie masters all forms of art and with this album he points the way with a bang. - Darkness On The Edge Of Ecstasy' is music for the modern age, for people with an distinguished taste in music and maybe even for other producers and musicians who want to find out how to perfect your own sound and visions. A quintessentially well-done album!

A linchpin of Montreal's experimental community for over two decades, Jean-Sébastien Truchy has performed with Fly Pan Am, Set Fire to Flames and Avec le soleil sortant de sa bouche among countless others as well as co-running the presently defunct Los Discos Enfantasmes label. After a string of tape releases on LDE, Digitalis, Sic Sic & others, Transmission in an Expanse of Firelight, Hear Me! is Truchy's first proper full length record. Combining elements of Musique concrète, field recordings, plaintive MIDI strings and emotive vocals Transmission... unfolds like a stage production or opera in which all the characters are refracted into one. In his own words 'I try to look at sounds and structures as neutral elements that have not yet been categorized by preconceived thoughts, judgement and/or taste - to apply the idea of emptiness to sounds, structure and form.

Killer album of ferric, monotone, fizzing electronics, slowed down Bunker Techno and heavily atmospheric field recordings unearthed and compiled by Golden Püdel's impeccable selector Nina (veteran of mixes for the likes of Blackest Ever Black's Krokodilo Tapes and Berceuse Heroique) and Tobias Duffner's VIS label.
Scheich in China make exactly the kind of stuff you'd hope to hear during one of Nina's farreaching but focussed DJ sets and comes from another one of the club's elusive and extended possee, someone who alongside their nocturnal activities spends their time beekeeping.
Their self-titled LP bluntly stakes out malefic intent to hypnotise thru narcotic effect and textural attrition with a wickedly stubborn, unflinching style and greyscale, atonal palette that's deeply entrenched in a bunker mindset.
On the A-side they lash us into a trio of ever-decreasing drone techno circles primed for the grungiest DJs and clubs that crave a bit of murk on the 'floor, but the record's biggest attraction in undoubtedly the B-side's 18 minute tract of treated and re-wired field recordings, all processed with a cold, hollow, metallic finish that make us feel like some invisible entity haunting the Hamburg docks and Reeperbahn at 6am.
If you fell in love with Alessandro Cortini's impeccable run of releases over the last few years, this one's a must

Immersed in the early days of the 90s midwest rave scene, Bill Converse began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Twonz were key early influences. Since moving to Texas in 1998, he has experimented with analog techniques in varied studio bunkers. Early techno, noise, ambient, tape, and paranormal processing are all part of his uncanny sound palette.

'Meditations/Industry' is Converse's debut vinyl release, collecting material from a cassette release on Obsolete Future. The tracks were recorded to tape with no overdubs in 2012-2013. As the title implies, the album places meditation inside tactile sonic processes. Bill is informed by his surroundings, influenced by scenes of desolation in nature, the sea, the desert, and places of industry, like power stations, old factories, and warehouses. The songs on this full length reveal a sublime influence from Detroit techno, early Chicago house, and Acid.

The album was recorded and mixed by Bill at his home studio in Austin and mastered by Dave Alex. All songs were EQed for vinyl by George Horn at Fantasy Studios in Berkeley. A custom-made jacket designed by our in-house designer Eloise Leigh incorporates the abstract cobalt glaciers, reminiscent of blueprints, over a dark gray background. Each copy includes a postcard with notes and a photograph of a mountain range that looks like ocean waves.

UK techno label Timedance releases its second record of the year courtesy of Lurka,fresh off the back of a collaboration record with label owner Batu last month. It is undoubtedly some of his finest and most experimental work yet.

The A-side Beater brings a meticulous blend of clever sound design and one of the most thunderous kick/snare patterns you'll hear. Seriously tough. Density introduces a sea of rippling arps, set to a back drop of deep sub bass. It is probably Lurka's most melodic and introspective track yet, whilst still keeping his trademark percussion work.

Series-A was the duo of Sam Anderson aka DJ Maestro and Dave Webb aka Kid Fresh. Sam and Dave both grew up listening to the sounds of the Electrifying Mojo on WJLB in Detroit. They met in 1983 at a DJ gig that they were both hired to play. In 1986, they collaborated on the Nu-Sound II Crew project. After developing a friendship with Juan Atkins, they became hip to the emerging new club sounds that were to become electro and techno.Their subsequent project, Series-A, was named after different car model numbers, but also hints at the evolution of humankind into a new species.

In 1987, Series-A recorded the single Evolution 5 Technology' at Spectrum Sounds Studio in St. Clair Shores, Michigan. Their set up was a vocoder, E-mu Emulator III, Roland 909 drum machine, and an Otari 24-Track recorder. They landed a record deal with Satellite Records in Burbank, California, which had been founded by Pete Moore of The Miracles. After pressing 50 promotional copies, the label ran into financial problems, and the record never reached a full release. Taking cues Kraftwerk, Grand Master DST, Grandmaster Flash & Jam Master Jay, Series-A created dark electro beats in an era when sampling appeared to be the future of music. Lyrically the song addresses our species' entry into the technological age. For this EP reissue, the 7' Mix and Dub Mix are included on the A-side. On the flip is a new remix by prolific Ann Arbor producer JTC, an alias of Tadd Mullinix (aka Dabrye, SK-1, & Charles Manier). JTC speeds up and expands the song to seven minutes. Drawing on influences from Ron Hardy to Jeff Mills, he drives around suburban techno landscapes while simultaneously launching the listener into deep space.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is specially designed by Eloise Leigh and features a cyborg fossil motif with RGB color band and gradients. Each copy includes a post card with with notes.

Made up of Tom Bellamy (ex-Cooper Temple Clause), Paul Mullen (ex-YourCodeNameIs:Milo/Young Legionnaire), Eddy TM (DJ/new music radio and club guru) and Dean Pearson with years of history across a huge range musical landscapes, Losers are the rarest of species, a band with no safety net and no conformist formula to follow. Their previous material has crossed over a huge range of styles and genres with their earlier dance driven material developing all the way into the more rock driven and poignant emotive output of their previous album. Now, Losers are back with another more developed new outlook, as a new band, and more importantly, with their new album 'How To Ruin Other People's Futures'.

Losers' previous album '...and so we shall never part' was received with critical acclaim across a huge range of publications spanning from electronic all the way through to the rock press. The album also saw multiple tracks synced to the likes of the London 2012 Olympics, Game Of Thrones, CSI, Michael Bay's Black Sails, Xbox title Far Cry 3 and more. Achieving acclaim across the industry '...and so we shall never part' has also earned plaudits from the likes of Zane Low and Rob Da Bank alongside Gary Numan and the legendary Sisters Of Mercy, who both handpicked the band to tour with them in 2013 and 2014 respectively.

For long-time Losers fans 'How To Ruin Other People's Futures' will be seen as a rapid evolution to the bands top form. The new album is a free falling head first descent into the bands new dark, brooding and emotionally brutal sound. Crushing electronics reminiscent of HEALTH collide with instrumental and vocal dynamics and intensity that call to mind the sounds of early-Nine Inch Nails, whilst the lyrics are far more visceral and caustic than before. On tracks such as 'Chainsaw' and 'This Is A War' Losers exhibit their newly found raw power and abrasive edge, at times calling to mind the electronic punk edge of early-Prodigy albums. The lyrics are contemplative and full of ferocity, however they also induce feelings of transfiguring uplift. 'How To Ruin Other People's Futures' is the culmination of what Losers have been working towards over the past four years, harking back to the more guitar driven, melodic work of their second album, and even the more dance driven sound of their earlier incarnation, whilst eagerly succumbing to their darker and heavier sensibilities.

Made up of Tom Bellamy (ex-Cooper Temple Clause), Paul Mullen (ex-YourCodeNameIs:Milo/Young Legionnaire), Eddy TM (DJ/new music radio and club guru) and Dean Pearson with years of history across a huge range musical landscapes, Losers are the rarest of species, a band with no safety net and no conformist formula to follow. Their previous material has crossed over a huge range of styles and genres with their earlier dance driven material developing all the way into the more rock driven and poignant emotive output of their previous album. Now, Losers are back with another more developed new outlook, as a new band, and more importantly, with their new album 'How To Ruin Other People's Futures'.

Losers' previous album '...and so we shall never part' was received with critical acclaim across a huge range of publications spanning from electronic all the way through to the rock press. The album also saw multiple tracks synced to the likes of the London 2012 Olympics, Game Of Thrones, CSI, Michael Bay's Black Sails, Xbox title Far Cry 3 and more. Achieving acclaim across the industry '...and so we shall never part' has also earned plaudits from the likes of Zane Low and Rob Da Bank alongside Gary Numan and the legendary Sisters Of Mercy, who both handpicked the band to tour with them in 2013 and 2014 respectively.

For long-time Losers fans 'How To Ruin Other People's Futures' will be seen as a rapid evolution to the bands top form. The new album is a free falling head first descent into the bands new dark, brooding and emotionally brutal sound. Crushing electronics reminiscent of HEALTH collide with instrumental and vocal dynamics and intensity that call to mind the sounds of early-Nine Inch Nails, whilst the lyrics are far more visceral and caustic than before. On tracks such as 'Chainsaw' and 'This Is A War' Losers exhibit their newly found raw power and abrasive edge, at times calling to mind the electronic punk edge of early-Prodigy albums. The lyrics are contemplative and full of ferocity, however they also induce feelings of transfiguring uplift. 'How To Ruin Other People's Futures' is the culmination of what Losers have been working towards over the past four years, harking back to the more guitar driven, melodic work of their second album, and even the more dance driven sound of their earlier incarnation, whilst eagerly succumbing to their darker and heavier sensibilities.

Ursprünglich aus Experimenten mit dreidimensionalen Aufnahmetechniken entstanden, und als zwei einzelne, jedoch miteinander verbundene Teile konstruiert, ist 'The Ship' gleichermaßen eine musikalische Neuheit, wie ein traditionelles Album. Eno bringt auf diesem Album wunderschöne Songs mit minimalistischer Atmosphäre, physischer Elektronik mit einer allwissenden Erzählung und technischer Innovation zu einer einzigen, cineastischen Suite zusammen. Das Resultat ist das beste musikalische Werk von Eno, ein Album ohne Vergleich in seinem bisherigen musikalischen Katalog. Der Titeltrack und Opener ist eine 21-minütige, zyklisch gesungene Ode an das Meer, voller Dramatik, Klangfetzen entfernter Stimmen und bedrohlicher Electronica. Es folgt das dreiteilige Werk "Fickle Sun", dessen Finale, ein Cover des von Lou Reed geschriebenen Velvet Underground-Songs "I'm Set Free", gleichzeitig das Album abschliesst.

The Universe we inhabit is a vast expanse far larger than we are able to comprehend.As we attempt to understand its underlying structure and as we gain new insight into the nature of matter, new questions arise and further gaps in our understanding are revealed. Behind the world that we experience lies a veil of darkness and much is hidden between, beyond and unseen. We are limited by our inability to truly grasp the infinite breadth of the Universe, the time scales involved in its measure and our insignificant position within. Some things will always be unknowable, and existence does not begin or end with man's conception.

Everything that has ever been observed by man, even with our most sophisticated instruments amounts, to less than five percent of the Universe. Approximately sixty-eight percent of the Universe is unseen dark energy and approximately twenty-seven percent is unseen dark matter.We have yet to discover what dark matter is, and only know the things it is not. Although it has not been directly observed, its existence and properties are inferred from its effects on visible matter, its influence on the Universe's large-scale structure, and its effects in the cosmic microwave background. The universe began of darkness, not of light.

This project is derived from an audio library of cosmological activity collected between 1993 and 2003. It was gathered from various sources including NASA (Cape Canaveral, Ames, The Jet Propulsion Laboratory and Arecibo), The Very Large Array, The National Radio Astronomy Observatory and various educational institutions and private contributors throughout the USA. While space is a virtual vacuum, it does not mean there is no sound in space. It exists in space as naturally occurring electromagnetic vibrations, many well within the range of human hearing while others exist at different regions of the electromagnetic spectrum and these can be adjusted with software to bring them within our audio range. The recordings of these interactions in space come from several different environments including radio, ultra violet, microwave and X-ray data and within these spectra a wide range of sources including interstellar plasma and molecules, radio galaxies, pulsars masers and quasars, charged particle interactions and emissions, radiation, exotic astrophysical objects, cosmic jets and flares from magnetars. Conceived and Produced by B.Lustmord. Recorded in Los Angeles October-December 2015.

Debut album from Pacific NW rising star, named "Best Electronic Act" in 2015 by the Seattle Weekly. ** Past Press Coverage as included: A NPR Weekend Edition Feature, Spin, Stereogum, KEXP Live in studio performce, CMJ. ** Past performance highlights: Bonarroo Decibel Festical, Bumbershoot, Capitol Hill Block Party, Sasquatch Festival, What The Festival, & Bonnaroo, as well as national tours with acts like Emancipator, Blockhead, Blackbird Blackbird, Chad Valley, Yppah, ** First single from the album "What We've Got" feat. Flint Eastwood passed 500,000 Spotify plays and 135,000 Soundcloud plays in a month's time.

Amidst the lush environs of his northwest roots, Manatee Commune has fermented an organically molded electronic sound that has been teasing the synapses of audiophiles over the last few years. While not a stranger in the Pacific Northwest, Grant Eadie's tracks have grown tentacles that stretch deep into the dance floor, fueled by natural overtones that he extracts from field recordings. Following the head-turning EP 'Thistle' on Brooklyn-based label Bastard Jazz Recordings (Illa J, Lord Echo, & others) from earlier this year, he comes to the label armed with violin arrangements, nuanced programming and pressure-sensitive LED drum breaks peppering the audio-visual experience of his participatory live performances. His debut album Manatee Commune is set for a September 16th release on Bastard Jazz, and displays the elevated confidence and deft touch of a producer truly finding his footing. Already opening for Bonobo, and recently touring with Chad Valley and Blackbird Blackbird, Manatee Commune has been featured on NPR, Stereogum, and Spin, amongst other outlets.

Eadie describes the inspiration behind his approach: "Learning how to share my creative process with my friends completely revolutionized the last of year of music for me. Inviting those I trusted and loved into my studio to spend even just an hour talking or jamming opened fountains of inventive energy for me, especially from the ones who lacked any musical knowledge. I soon found myself incredibly inspired by the originality of even the smallest interactions with people, and so I pointed my field mic at anyone who had a story, a melody, or a stumbling beat they had been absentmindedly drumming, all in the hopes of capturing their individuality and framing it with my ever expanding insight into audio production."

Reimagining his musical approach by opening his studio and microphone to friends, collaborators and loved ones, Eadie was able to release fountains of inventive energy from these deeply personal interactions, inspired by anybody who had a story, a melody or a stumbling beat to share. Key elements are amplified that get Manatee Commune audiences bouncing, while cultivating his warm and textured production aesthetic to further complexity, layer by shimmering layer.

The seminal 1994 double album by the original PAINKILLER line-up BILL LASWELL, JOHN ZORN and MICK HARRIS on vinyl for the first time! Avant-jazz, grindcore, dub and ambient melt into eerie tracks of haunting atmospheres.

When PAINKILLER started in 1991, their first two albums "Guts Of A Virgin" and "Buried Secrets" (both released on extreme metal label Earache) were heavy attacks blending grindcore and free jazz that brought together the musical backgrounds of the three protagonists: drummer MICK HARRIS had just left grindcore legend NAPALM DEATH, JOHN ZORN explored new extremities with his NAKED CITY project while BILL LASWELL had as a member of roaring free jazz quartet LAST EXIT ( PETER BRÖTZMANN / SONNY SHARROCK / RONALD SHANNON JACKSON) proven that he was not only a visionary producer but also an accomplished bassist. But it is their 1994 double album "Execution Ground" that remains the opus magnum of the brilliant trio: ZORN's unmistakable shrieking saxophone, HARRIS' pounding drums and LASWELL's growling sub-bass lines were given heavy mixing desk treatment, resulting in extended tracks that are no less intense than their early works but display the full range of the musicians' skills. Soaked with reverb and delay, avant-jazz, grindcore, dub and ambient melt into eerie tracks of haunting atmospheres - even more so in the ambient versions of disc 2. Mastered and cut by RASHAD BECKER at D&M Berlin, "Execution Ground" is now available on vinyl for the very first time as 2x 180gr LP incl. a download code and insert in a limited edition of 500 items.

1x12' vinyl, 3mm spine sleeve

* 'With my second Shogun installment I'm bringing something slightly dirtier but still soulful. I wanted to have more ammo for the dance floor but in keeping with the musical elements I produce, bringing meaningful expression as well as utilising my heavier influences' - Ed:It

* The name 'South City' EP came from a big move from Nottingham to London. The whole EP has flavours and inspiration from my surroundings here in the capital. The title track was produced with deep sampling & soul in mind. I think it carries the tone of the release with the drawn-out vocal/musical intro and life like drums on the drop. With 'Isolution' I wanted to showcase my tekkier side & influences. 'Heaven Sent You' came together as steppy liquid number. A track you can listen to on a every day basis but also one to rock the dance floor. Finally, my favourite of the EP 'Babylon Step' speaks for itself for me.

* Since signing to Shogun Audio I've already gained a lot from fellow producers & the experiences it's brought me. The EP is an extension of this, through writing & DJ'ing over the past 6 months. I think this showcases where I'm going & the vibe that I'm delivering to the label.' Ed:it 2016

In a time of over connectivity it was time to disconnect, again.
This album was recorded over the course of a year between two caves, an empty cove and a countryside finca on the island of Mallorca. The summer days were long and hot. The winter nights were longer, cold and damp. Libby, Herbes Seques and a contained fire kept me company. It was experimental in process, strictly interpreting my surroundings and emotions involved with the inescapable solitude of this address-less residence.
Primitive Thoughts part of a series of visual works called 'Croupier', a concept developed by artist Julian Smith focusing on the aftermath of loosing everything to a storage fire in Venice beach and the subsequent recreation process of new works on an Island in the Balearics.

Portugal's LAKE HAZE drops 3 warped bassline house bangers on UTTU. Strong influences from Zomby, AFX, Sci-Fi & UK urban music means you've got some mad mashed up shitstorm of hype on your hands.

Les Graciés is a collaboration in the truest sense between Paris-based sound artist Gaël Segalen and Deepblak co-founder Afrikan Sciences. Segalen's experiments in electroacoustic sound met the wider world this year via a debut LP for Erratum, an arresting work that showcases her ability to merge hypnotic murk ala Angus MacLise with the hard concréte of Parmegiani & Reibel. Segalen's IHearU imprint / organisation is a platform for her various doings, including psychogeographical audio works and multi-media collaborations, as well as servicing as a reference point for other contemporary female artists working across various mediums. Eric Douglas Porter aka African Sciences has been deconstructing and re-building forms of contemporary Black music since the mid-2000's, through releases on Deepblak (the label he co-runs with Aybee) and PAN. His musical universe is one of warping cadences and celestial melody, referencing the bold work of percussionists like Milford Graves & Art Jenkins, the dissonant chords of Motor City Techno and stripped back essence of early Chicago House matched with broken Hard Bop sentiments: all tied together with an aesthetic that sits somewhere between Sun Ra's omniverse, Jean Giraud Mœbius and Dogon cosmology. Together as Le Graciés, Segalen and Porter make a wholly unclassifiable strain of music that, while containing recognisable elements of each individual's work, also creates a third entity in the process, which can be heard to stunning effect on their forthcoming debut LP 'Low Doses' for Firecracker Recordings.

NEW is the third full-length album from the young Kyoto based producer Kazumichi Komatsu aka Madegg. Hailing from Kyoto, Kazumichi Komatsu, Madegg is a rising star in the Japanese electronic music scene. Moving freely between dubstep, chillwave, house and noise, part of the fun of listening to Madegg is not knowing what he'll come up with next. He supported the show of Ryoji Ikeda, Arca, Clark, Mount Kimbie, Tim Hecker, The Field, Inga Copeland, Julia Holter, Matthewdavid, Mark Fell (SND) in Japan and played the show SonarSound Tokyo/Osaka 2013 as youngest artist that year. Nathan Fake, James Blake, Four Tet and Fly-Lo here and there - but these aren't direct influences, just signposts to a territory that belongs entirely to Madegg. Exquisite fine detail accumulates around beats which seem to emerge completely naturally from low-down sub-tones. - Mixmag Whilst we're vibin' to lots of this ambient-indebted lush dance-music-you-can't-really-dance-to, here's something that literally just hit my inbox from Japan... - Drowned In Sound Slithering synths twinkle as they travel ear to ear, grounded by the steady pulse of a deep four-on-the-floor kick. Ever-rising, the increasing sensation of elevation brought about by Japanese producer, madegg, is like a rush of blood to the head...madegg's energy is deliberately simple yet emotionally rich. - PORTALS

STASIS005 is another vinyl issue of Elysia Crampton's digital work, following STASIS003, the 'Bound Adam 2011' 7". It is the first pressing of 'The Light That You Gave Me To See You', originally released under the name E+E.

The arrangements were conceived between 2011 and 2012, and the l.p. was finally assembled in 2013, while the artist was homeless in Los Angeles, California. This edition also includes a previously unreleased bonus track, "Troll Song", which originates from the same period. As with 'Bound Adam 2011', the art is by Felix Lee, and the master is by Brandon Hocura.

- Expanded package featuring reworks of cuts from Maribou State's debut album 'Portraits'.
- Remixers include Axel Boman (Studio Barnhus), Ross From Friends (Breaker Breaker), FYI Chris (Rhythm Section) and Glenn Astro (Tartelet / Money $ex).
- Maribou State are the newest addition to the Radio 1 Residency roster, following in the footsteps of James Blake, Flying Lotus and George FitzGerald.
- For fans of Bonobo, Jamie xx, Max Graef, Romare.

Dirk Timmermans (a.k.a Dirk Da Davo), very known for The Neon Judgement, have
find on Glenn Keteleer the perfect partner for his alter ego project Neon Electronics / Ne. Their tracks count with the likes of The Hacker, David Carretta and Millimetric, and made applauded appearances on Dave Clarke's 'White Noise Radio' playlists. Pounding beat bonanzas next to brooding krautrock, marshy soundscapes and twisted EBM. So yes, it's dark and loud but it's a darkness with a loudly beating heart. Sounds to punish your body!

Following on from the 2015 return to the frey Real Ibiza returns to the white isle for the 2016 edition of the benchmark Balearic compilation "Real Ibiza Volume 9". First launched in 2000 Real Ibiza was one of the first wave of Ibiza / Balearic inspired compilations. A cornerstone of the genre alongside the Cafe Del Mar series. Real Ibiza gets inside the Balearic bloodstream by mixing in downtempo sensibilities, mellow house, cool jazz and plentiful doses of evening sun-washed grooves. For episode 9 Bahamian DJ Loudery returns to sample the delight and mood of Balearic music worldwide.

As is the formula for Real Ibiza the zeitgeist is all Ibiza whereas the particpants int the music hail from locations all over the word. First up we head to Prague to sample the 30 piece string section of the Prague Philharmonic Orchestra with Czech producer Sonority setting a mellow introducing tone with the cinematic "Virtus". Its then a trip to the other side of the world for Australian producer Gary B to set things on a dreamy plateau with his bass guitar driven "Better Life". Next it is some unabashed sunshine groove with the lazy trumpet, sunshine piano and "boys of summer" guitar with "Isla Paradisco" from Steven Solveig.

The lazy guitar and contemporary adult synth groove of "Fiolent" from Russian Seven 24 is next, followed by the leftfield uplifting strums and beats from Balearic newcomers Cucumbers with "Good Morning". Glasgow based Korvids drip into the soundscape with the lazy, twisted slow-synth jam of "Slouch". We then head to Italy for Tony Carrascos Audio Affair project and the table groove, moon-washed treat "Chasma Boreale".

Lifting the groove quotient a tad we take a trip to the San Francisco Bay area with "Olas Atlas" from Aimes. Big synth grooves and laid back drum machine dice with classy samples and shimmering chords. UK based Aaron Taylor and his Ambray project is next up with the dark deep brooding male vocal of the meloncoly forlornness of "The Waterline". Rednov Krill follows with his plucky synthy dream workout.

Englishman, Robert Burbridge is next with his downtempo jazz and chill space from his Rubberlips project. Here with Jess Smethurst on super smooth vocals we experience the subtle slap bass, handclaps, jazzy Rhodes and teasing brass all wrapped up in chill house groove. Misson Brown is next with his summer piano and seashore synths in "Only Human".

To round things off we experience the lo-fi electronica and sun-striding piano of "This Five Sense World" from Valdi Sabev. No Balearic compilation would be truly complete without a visitation from Cafe Del Mar resident Jose Padilla. Here the dreamy Leo Ceccantti strummed version of his classic "Elixir" track is the perfect tonic to wind down proceedings. Layers of folding guitar, Ibiza passion and dreams of a faraway sunset.
Ladies and Gentlemen enjoy the summertime.

4 track hand-stamped white label 12" EP by Best Available Technology, released on the Working Nights label. Stamp by Skull Disco's Zeke Clough. 200 copies only.

With three contrasting cuts, Creta Kano's Skyway Motel EP, released earlier this year seemed ripe for remixing. Thus, the idea of Creta Kano Versions was born. Label bosses the Kelly Twins looked close to home for inspiration, handing over the parts to a trio of Bristol acts, each renowned for carving out their own niche in the increasingly homogenized world of electronic music.

The A-side is handled by Hotline Recordings and Black Acre affiliate Lurka, utilizing a handful of elements of Creta Kano's original and twisting them around his own punchy rhythms.The B-side is Bruce, whose distinctive, next-level take on techno has set tongues wagging following releases on Hessle Audio and Livity Sound offshoot Dnuos Ytivil. Here, he delivers a "Hi-FI" mix of "False Water" that emphasizes the deeper and more fluid aspects of the original.

The EP is completed by a typically atmospheric interpretation of "Skyway 81" from Young Echo members Amos Childs (Killing Sound, Jabu) and Neek under their O$VMV$M guise. Given the quality of their recent self-titled album on Idle Hands -- they were the perfect fit to rework Creta Kano's chopped, skewed and pitched-down version of "Skyway Motel".

Delusion Men were here before time started to flow and it seems they will stretch out their existence way beyond doomsday; which probably explains their archaic impulses reverberating in a foggy, lost future. What they deliver are pieces of straightforward punk plunged into disco depths, kraut derailment and swirling drum machine melancholia. If you are looking for retro-future dystopias with no space for healthy minded horizons, this is the thing for you. Delusion Men walked together since the inception of Future Nuggets, although for them the time will never come, we snatched their debut EP. It feels as if through them " the Old Ones" are channeling the last messages of hopelessness for dance floors and dining rooms."

KM Editions and Pleasure Unit are proud to anounce the launch of Pleasure Wave. A new imprint to release special projects.Our first release "Tarnished Idol comes from the multi faceted g-Marie a friend of ours for over 20 years.