Beats News

Released first week of July is a long anticipated collection of long sold out 45s on the tiny North London minimal synth imprint, Polytechnic Youth.

The label began it's life in 2014 when an old friend went to Germany and bought a cutting lathe, enabling us to release hand cut 45s in micro editions of varying quantities. First fruits were an EP of DIY / experimental electronics from Volume Groop, dressed in a poster sleeve with obi (and now a £100 45!)

From there, a dizzying array of collectors' dream releases flowed, clear 5' singles, 8' singles, 45s that played from the inside label out and releases that came with personalized 'glow in the dark' centre adapters, to name a few. All sought after now.

The LP features a selection of tracks from these releases, which, while allowing newcomers to the label a more affordable foot in the door, also gels and works well as a free flowing full length in it's own right.

The label has a deep love for both the look and sound of key period '78 to '83 minimal synth, experimental and primitive, DIY electronic music. Often released as private press style vinyl or low key cassette only releases. If forced to throw names at you as reference points, think Fad Gadget, early Cabs, early Mute, John Bender, Neural Circus and Transparent Illusion etc- all key releases at PY HQ....

Previous releases have included the likes of Listening Center (Ghost Box and Deep Distance), Colin Potter (NWW), Justin Wright (Expo 70) and have been given assuring thumbs up from the likes of Tim Gane, Sonic Boom and Pye Corner Audio's Martin Jenkins.

The LP concentrates on some of the debut 45s by lesser known artists however, these all reaching collectors' prices online since release.

The label openly encourages something of a co-operative nature whereby artists or fans of the releases are asked to submit and even create hand made sleeve art, or film clips, inserts and stickers. Trouble in Minds' Bill Roe designed the label's logo (soon to adorn a label T shirt for it's 27th release').

A previous release caught the eye of Stewart at Emotional Response records in the US and he is releasing the album there on CD quickly following the LP.

As ever the LP is dressed beautifully, with printed inside and out artwork on reverse board sleeves. A wonderful record released as a pressing of 300 copies.

MOP MOP continue their journey through musically wide open spaces and places. Refining their sound even more, creating an unique and deep atmosphere based on the idea of traditional Gnawa rhythms mixed with a heavy Dub-Jazz-Funk pulse. They left the - Isle Of Magic - but the magical experience of their music and vibe gets even more exciting . . . ... as ANDREA BENINI and MOP MOP once again take a wonderful imaginary trip to a place which echoes and results in another deep musical trip. From the - Isle Of Magic to - Lunar Love - - There are other places out there - Sun Ra knew about these places outta space, MOP MOP now take a journey from a mystical bright shining star called - Adhara to Mother Earth, being aliens from a kind of similar but yet different planet which they had to leave as they have destroyed and abused their ground, now in search of a new land. Looking at our blue planet from a different point of view. - Show me this place they call Earth and let me land this ship , says ANTHONY JOSEPH in one of the key tracks - Spaceship:Earth . Starting the trip with the soothing sounds of a Hang Drum, - Alfa leads into the four movements of - Lunar Love - The Journey, The Awakening, The Experience and Close Encounters. - Adhara then sounds like the Sultans Of Swing found their Karmacoma finally, melodies of leaving and inquiring discoveries at the same time. Unquestionably, Adhara must have been a wonderful place, but now it's time to find a new life somewhere in space, all under the sign of the magical - Lunar Love in the end. Hardly anyone can elude the irresistibly rhythms of intrumental tracks like - Habibi or - Plato as parts of the journey through space and time. - Supreme , a beautiful and soulful love ballad and the dreamy - Foreign Correspondent , which is about the amalgamation of aliens and humans, the destiny for a new way of living and caring, are the soundtrack to the release in a quite peaceful setting after a long journey. - Lunar Love once again features over ten brilliant musicians, each one contributing their art homogeneously to ANDREA BENINI's musical visions. ALEX TREBO on piano, PASQUALE MIRRA on vibraphone, balafon and marimba, SALVATORE LAURIOLA on electric and double bass, DANILO MINEO playing all kinds of primary percussions like surdo, udu drums, tumbadora and the morrocan krakebs, which BENINI also uses on most of the tracks like a traditional drum set. Additional hang, ARP synthesizers, Moog, guitars and many other instruments create this unique atmosphere of the album. Poet and musician ANTHONY JOSEPH on the vocals adding his outstanding poetry as an essential ingredient, telling the story and matching perfectly with the overall vibe of the tribal Dub Jazz Funk pulse. WAYNE SNOW's sweet voice making - Supreme this beautiful love song and Ninja Tune artist ANNABEL ELLIS dreamy chant inspired by Satie and Debussy feels just right in place in - Foreign Correspondent . The whole album has been recorded in five excellent studios located in Berlin and Ravenna using vintage analog equipment for he bliss of a warm sound, which can only be achieved by using analogue tape in the end. - Lunar Love is MOP MOP's fifth studio album and it turns out to be BENINI's best work to date, deep and sometimes dark, but uplifting, very soulful and very original at the same time. Combining his afro american jazz background with a tribal offbeat approach and a wonderful story on top. Reaching out to a state of trance which feels very good once you let yourself go. Please take your seats and join MOP MOP on this journey to these - Other places out there you haven't seen and heard yet. - So take the dark away, leave me the day ANTHONY JOSEPH

Hazel is the 5th record from this group of eclectic travelers, who bring their considerable pedigrees together in unexpected and original ways. Looking at the people involved, it would be reasonable to expect a massive blowout of sound, but everyone plays with remarkable and effective restraint. The music is atmospheric and layered, with bits and pieces of identifiable rock moves peeking out from under a thick blanket of hard-to-identify drift.

Based on live recordings made on a lengthy tour of Italy in 2010, the recordings have been extensively edited and supplemented, but without losing the elemental sound of a group playing live together. While there's plenty of weird ambient sound to be heard, this isn't a sound-effects/'pedalboard' record. Like the preceding 'En Form for Bla' album, Noble's drums anchor the music. The drumming is spare and considered, sometimes lashing out with abstract punctuation, and other times laying out a Can-like groove. O'Malley's guitar is also restrained, providing a bed for O'Sullivan's constantly morphing Rhodes, synths and electronic effects. Kristoffer Rygg contributes a rousing vocal incantation to 'Ermanna' and peppers the mix with ghostly modular details. Like their other records, this is not really like anything else out there right now. Sleeve designed by Stephen O'Malley.

CD is in card folio printed by Stumptown Printers. LP is in Stoughton Tip-On Jacket, pressed at RTI, and includes download card.

Tri Angle announce the release of 'DAZE', the new album by London- based producer Brood Ma.
His debut on Tri Angle, 'DAZE' is actually the third in a series of wildly ambitious and confounding albums Brood Ma has put his name to in the last few years, generating a good deal of intrigue and acclaim along the way. His first release, 'FISSION', turned heads with its juddering, noisy take on EBM, while the follow up, 'Populous' (reissued in 2014 by pioneering dubstep label Hemlock), signalled for many the arrival of a genuinely unique and intriguing talent, bolstered also by his affiliations with the endlessly fascinating and undeniably forward thinking Quantum Natives collective.
By stripping back on some of the beat-suffocating-distortion that partially defined some of his earlier work and zeroing in on some of the more delirious and disorientating side effects of trance and hardcore styles, Brood Ma has made his most radically club- orientated release to date.
'DAZE' is a direct by-product of Brood Ma's ongoing interest in dissecting how (and why) we build virtual worlds and an obsession with the kinds of high-definition sound design techniques most often used in trailers for Hollywood blockbusters and video games. These are the sounds - most often of death and destruction - stripped of their grisly truths and moulded into plastic or mechanical shapes in order to sell us something.
In Brood Ma's own words, 'DAZE' is a documentary of the military engagements played out amongst adults and children across worldwide server space and an attempted critique of the current obsession with survival playtime, played out through politically prosed pop references and narratives of fictional, future juvenilia.'

'Preparations' is the first record to be released on Tri Angle by Fis. Based in Wellington, New Zealand, Fis has steadily been building a name for himself on the underground as a producer to keep an eye on.

Having already put out a number of very limited edition and very well received releases through a handful of drum & bass oriented labels, 'Preparations' finds Fis at a point in his musicmaking career where he's ready to be introduced to a wider audience and confirm why websites like Resident Advisor have said things like: 'A producer that has suddenly appeared, rather fully-formed, doing something completely individual, sounding like absolutely no one else.'

It's difficult to explain exactly what Fis sounds like. Drawing upon a rich history of New Zealand customs and periods of heavy meditation for inspiration, Fis' tracks have the ability to completely disorientate and absorb the listener, creating rhythms that constantly seem to be cannibalizing one another.

'Preparations' feels forward thinking in the extreme and yet entirely elemental and strangely ancient.

Lichter is the first piece in a new series of electroacoustic dub compositions by Mouse on Mars. It is a massive, lurching, up-tempo percussive epic - a long-haul runaway train that keeps switching tracks without ever losing sight of its destination. Like much of Mouse on Mars' output, Lichter deftly traverses a varied sonic landscape, encompassing elements of jazz, dub, krautrock juke and psychedelia.

Lichter incorporates trigger robots built by Sonic Robots' Moritz Simon Geist and features Andi Toma & Jan St. Werner's long time collaborator Dodo NKishi on percussion. The basic layers were produced with a feedback software called smrph, and were edited, arranged and used as a foundation for various live and studio improvisations. The 13min track, Lichter, is a concentration of these various layers. Lichter is also a highly visual piece, and performed live it employs a bespoke network of light-bulbs triggered by data derived from the sounds and pulses of the composition.

Andi Toma and Jan St. Werner have been recording and playing live as Mouse on Mars since 1993, and have released over a dozen albums. In 2014 the duo celebrated their 21st birthday with a curated festival at Berlin's HAU theatres, and an accompanying compilation which showcased the band's numerous collaborations.

The video for Lichter was created by Paul McDevitt and Jamie Lemoine.

Conceptual beat-maker Nick Klein returns with 'The Lonesome Dealer' 12' for Alter.

Four disparate, industrial-tinged tracks that demonstrate a rough-hewn synthesis of noise and techno, 'The Lonesome Dealer' is born from a geographically transient point in Klein's life spent between Miami and NYC. Despite this, Klein has turned personal disruption around to make his most focussed statement yet as an artist.

From the hypnotic "Caberet Voltaire gone Reggaeton" patter of 'Chats With Lucy' - with its bruised drum machine rhythms and a jabbering refrain that embodies the track's title - to the crawling computer acid of 'Christian Rock Concert', Klein teases out melodies from beneath layers of muddied beats on a record that is as pacifying as it is jarring. Dark and wavy club music for the heads, if you like.

'Do You Want To Crash' is perhaps the clearest realisation of this idea; its crescendoing din of noise giving way to a laser-cut synth line that shimmers like a diamond in dry ice, while 'Pain Management Resource' is built around a clatter of hi-hats and wobbly polyrhythm that bounces along with a kind of ominous glee.

Having studied sculpture and performance in Miami, Nick Klein has largely dealt in sound-based art since moving to New York, but with focus on the potential of a democratic dialogue platform through electronic music, scale in volume, and the active role of touring performer.

Along with Miguel Enrique Alvariño, he co-runs Brooklyn's Primitive Languages label which started from a shipping container in Bushwick's 'Punk Alley'. The pair have so far released sessions from the likes of Profligate, Balloon Movement, Pure Matrix, and Hubble.

'The Lonesome Dealer follows 'Failed Devotee', Klein's previous 12" for Germany's Unknown Precept label.

REPRESSED !!

Heated Heads delves into another dark corner of the American experiment, this time via the Lone Star state.

Graig Clouse's Shit & Shine project has been a mainstay of the underground for well over a decade, having released unique sides for legendary labels like Rhode Island's Load, Riot Season, Gangsigns, Powell's Diagonal imprint, Rocket Recordings, Conspiracy outta Belgium and the inimitable Editions Mego, to name but a few.

After turning heads with an excellent debut for Hessle Audio in February, Ploy returns for his second release of 2016. For this record he relocates to Batu's Timedance, the fourth release of an exciting year for the label. Ploy shows his ear for striking, off-kilter ideas, whilst staying aware of dancefloor functionality. 'Iron Lungs' combines ghostly atmospherics with crashing ride cymbals and sub drops. It's as impactful as it is odd, striking a middle ground between the two.The B-side continues the motif unrelenting percussion and textures. 'Number 24' bounces around a 4x4 kick and bulky congas, while 'Footprints In Solid Rock' strips back the elements to reveal a broken form, combining swung percussion and eerie flutes.

Repeated Viewing's soundtrack to the not totally sure if it's real or not' film of the same name slinks out of your speakers as if Badalamenti and Goblin had made sweet regretful love one night and created a baby so dark and brooding, only the 'Trv Synth Fr33ks' would take it in and raise it like wolves. Following the story of one man's revenge across 1982 New York, this is Death Wish if we lived in some kind of alternative universe where Lucio Fulci had directed it instead of Michael Winner. From Ballads to Disco to Minimal Synth, Street Force' is a masterpiece of faux soundtrack bliss and definitely not to be missed. Art by Eric A Lee.

Bass assassin dream team Alix Perez and EPROM debut Shades,
a commanding new EP on Alpha Pup Records. Fresh and dynamic,the four-track release tickles the limbic system with gravity-distorting bass and inspired hooks. 'The Serpent' cuts a swathe through the dance floor, underpinned by an imperious, gritty bassline, replete with head-turning percussion
cuts. The back-swung 'Chiron' cloaks a devious, neck-snapping riff in warped melodic deviations.Woozy percussion sits aloft an unsettled slab of electric bassweight on'Minotaur'. And'Into Light'juxtaposes glory-era rave power chords and arpeggios against echoes of g-funk and hyphy - culminating in a tuned-up footwork flex-out. Vivid. Searing. Groundbreaking. Shades is a gripping release by two masters of their craft.

Transgressive Records are proud to announce a very special white label 12' bringing together Flume's recent single 'Some Minds' featuring Miike Snow's Andrew Wyatt on vocals and the Australian producer's epically well-received remix of Collarbones' hit 'Turning'.Featuring on the reverse of this 12' white label is Flume's remix of 'Turning' by Collarbones. The original version is an upbeat, house-inspired hit, with a catchy hook and sampled loops. Flume's remix intensifies every aspect of an already infectious song, hitting well over 2 million streams on Soundcloud alone

LuckyMe präsentiert die Debüt-EP des Produzenten Inkke, der wie Hudson Mohawke, Rustie oder S-Type der vitalen Glasgower Electronic-Szene entstammt und bereits mit Skepta, Novelist und D-Double E gearbeitet hat. 6 Heavyweight-Dancefloor-Tracks, auf denen Future-Grime-Rhythmen auf Memphis-Rap-Referenzen und hymnischen Sound treffen.

Whoompf. Another knockout record from Latency.
Five grippingly widescreen, warmly immersive, dubwise soundscapes — propulsively roiling, droning and ticking, smudging the limits of their own coherence.
'I'd been thinking a lot about this idea of skewed club tracks that constantly shift in and out of time like they're on the precipice of dissolving or collapse,' says the producer, from Melbourne. 'Straining against whatever holds them together but maintaining that tension. Tarkovsky calls it 'space frozen in a dynamic equilibrium'. I'd also been listening to a lot of Steve Reich, Monoton and Arthur Russell, particularly how their work can induce this meditative trance-like state through drifting repetition in rhythm and melody.' Another lovely, inkily silk-screened cover, too — freshly evacuated, awed, anxious — like a still from Force Majeure.

LNEG006 is a tape.
Rawmance's dj set recorded at Villa Arconati (Milano) during Terraforma festival, 13th june, 2015

45' by side, part 1 and part 2.
chill to hallucinogenic ambient electronics, have a nice trip.

repressed !

For this inaugural release the french label BFDM introduces two young promising producers aka The Pilotwings. Agorespace is an excursion, a trip where dark and killer drums meet with some soft melodies and primitive percussion.

Trance Beats is a wonky house track made up of hip-hop/jungle breaks and synthetic animal sounds, a powerful combination of tribal rhythm and creepy synths. On the same side comes Cavernes Magiques, a modern electronic tune where raw 707 jams gives way to Trippy dance pads, 90's influences. On the other side a strong techno track contrasted with bright synths called Cours-la-Ville, a dark and long exploration.

For release number ten, Happy Skull have come full circle with the return of original label alumni Adjowa. The UK based producer and musician has fired up his orchestra of rusty, defunct machines to deliver three highly melodic, unashamedly oddball disco jams.

Inspired by low budget, private press boogie, italo and electro records, the tracks were recorded to tape in one take with no post-production and dubbed live on a crackly old desk.

The word 'Aven' refers to an underground shaft that leads upward from the roof of a cave passage.

Recorded with SoundField SPS200 & JrF C-Series contact microphones, Sennheiser ME64, Sound Devices 788T, Elektron Monomachine, RME Fireface UCX, and Cockos Reaper. Field recordings from Iceland, June 2015 and South Africa, November 2015.

Strings performed by Bethan Kellough.

Bethan Kellough creates sound worlds that weave together instrumental materials, sound design and ambisonic field recordings. Her composition 'Aven' is based on a recording made in Iceland in 2015, which features the booming sound of underground geothermal activity escaping to the surface through a small shaft. "Looking down into the darkness, there was a sense that a whole world existed in an unknown space beneath. The sound world of Aven is a journey through such an imagined environment." The composition is driven by this sonic encounter, but enters the imagined worlds beneath through the instrumental material developed throughout the work. These melodic passages predominantly feature violin, which Bethan has played since childhood exploring traditional Scottish music, rock violin, free improvisation and classical studies. The field recordings used in Aven were made in Iceland during the Wildeye sound recording workshop with Chris Watson and Jez riley French, and in South Africa during the Sonic Mmabolela residency with Francisco Lopez and James Webb. Each of the recordings explore a world of sound beneath a surface, reflecting upon the initial recording environment at the geothermal site. In South Africa, an approaching storm was heralded by wind blowing through bushes in the savanna, underneath which was hidden a Soundfield microphone. A contact microphone on a fence in South Iceland revealed the tones of the wind contained inside the wires, and in an Icelandic nature reserve the wind was also captured by microphones buried underneath a layer of grass - a miniature world sheltered by the strands of dry straw.

Bethan Kellough (formerly Bethan Parkes) is a sound artist and composer. Her work spans across ambisonic composition, field recording, sound design and multichannel sound installation practices, drawing a focus on sonic spatial experience. Her works are designed to open out spaces with sound, exploring spatial aesthetics and the interactions between sonically and visually articulated spaces. The immersive sound-worlds she creates inhabit the boundaries between music and sound design, weaving together instrumental materials, sound design and ambisonic field recordings.

She holds a PhD in Sonic Arts from the University of Glasgow. In 2015 she joined the Touch Mentorship Programme.

Her works have been exhibited and performed internationally, including at Touch Conference, Los Angeles, USA, Gallery of Russian Art and Design, London, UK, Resonant Forms Festival, Los Angeles, USA, Borealis Festival, Bergen, Norway, Jardins Efemeros Festival, Viseu, Portugal, Spazio Bocciofila, Venice, Italy, The Global Composition International Conference, Dieburg, Germany, Symposium on Acoustic Ecology, University of Kent, UK, Sound Thought Festival, Glasgow, UK.

The first release on new Berlin-based label Per Musica Ad Astra is Mick Clarke's 'Zusammen!' LP, the follow-up after many years to his debut solo release 'Games' on German label Blubberlips in 1979. A pioneer of UK electronic music, Mick was also in legendary synth-wave band Naked Lunch, and apart from producing music under a few different aliases over the years he also finds time to run the Flight Recorder label and is a regular programmer on Intergalactic FM, hosting both the Radio Oscillations and Magic Waves shows. The music here is very much in the spirit of the label's kosmische/space Berlin-school agenda, both reflecting his earlier work and exploring new territory simultaneously. Lush orchestrations and beautiful synth pads contrast against hypnotic rhythms and delicate melodies, and while the label's mission might be electronic listening music' tracks like 'Red Bird' and 'Mistral' are surely DJ material too. The latter evokes a sound similar to vintage Basic Channel, while other parts of the album flow through sonic territories as diverse as Tangerine Dream and the Berlin school of ambient, Warp Records' classic 'Artificial Intelligence' series, deep electro and even atmospheric Italo as well. The record comes in a beautiful sleeve with notes from the label, and comes free with a nice space insert! Definitely not one to miss!

When Hugh Tracey (1903-1977) made 35,000 field recordings across Sub-Saharan Africa between the 1920s & 1970s, his intention was to reveal the beauty and complexity of the music to a world that saw little value in it. Today, almost 90 years later, Tracey's bid to preserve the music of Africa for future generations' lives on. 'Beating Heart - Malawi' has connected the archive at the International Library of African Music (ILAM) with contemporary producers, making fresh sounds for a modern audience. This "originals" album collates the source material supplied to modern contemporary electronic artist to remix but is a historical document in its own right and a fascinating insight into Malawi's rich musical heritage.
He recorded: Mouse-hunting songs, African separatist hymns, songs about rain and poverty, songs for pulling canoes, songs which warn against European beer, songs which complain about venereal disease, songs about the sounds of unseen aeroplanes, songs about a mosquito overturning a lorry, about a donkey complaining it wants wages instead of maize, about a baboon that dies after somersaulting for joy at hearing the sound of drums, commentaries on urbanisation, labour organisations and a praise song for a bicycle mender.
Building on Tracey's vision, the income generated will be used to assist people in the areas where the music was originally recorded.

another nice surprise from MFM..who'd have thought this one would pop up here the choice unearthings continue....info soon..

White vinyl 12" on Warp - Shangaan electro!
'Tsekeleke' is the first music to be released on Warp by Nozinja of Shangan Electro fame. The Shangan Electro pioneer has spearheaded an iconic, Afro-futurist dance music combining kwaito, Tsonga disco, South African house and local folk traditions

This up and coming producer is already a legend amongst the crew of techno freaks in Brooklyn. With previous releases on local imprint Lovers Rock, and releases slated for Proibito and Exotic Dance under the the aliases DJ Python and DJ Xanax, DJ Wey aka Brian Pinyero has contributed a massive 12' to BANK Records. The A Side Song for Masahiro' is dedicated to Masahiro Ueda, a DJ and friend who graced the BK scene by way of Japan. It's a bass heavy tune with melodic pads floating in the forefront amongst the occasional cheering sample. It's perfect for either opening or closing a set midsummer. In contrast, the B Side opens with Flow On.' With its distorted kicks, relentless claps and hypnotic bells one could imagine hearing it on a nightmarish carnival ride...fit that into a set. The record ends on an electro tip with spaced out pads, backwards samples and classic electro style drum patterns. Distinct in sound and diverse in approach, don't sleep on the homie DJ Wey

Nach rund fünfjähriger Pause mal wieder ein neues Album. Sollte es tatsächlich noch Musikfreunde geben, denen 2016 der bürgerliche Name von Portable nicht geläufig ist, spätestens mit der Veröffentlichung von "Alan Abrahams" ist das Geheimnis gelüftet. Wie nicht anders zu erwarten, hat Portable auch dieses Mal wieder im Elektronik-Baukasten gespielt, Gefallen an neuen Genres gefunden und dem latenten Hang zu spiritueller Tanzmusik nachgegeben. Natürlich! Denn eines ist gewiss: bei Portable bleibt alles im Fluss. Aufgewachsen in einem verarmten Township in Kapstadt und von Chicago House sozialisiert. 1997 der Umzug nach London. Gründung des Labels Süd Electronic und erste, noch sehr atmosphärische 12-Inches. Dann die Begegnung mit Dub und Jahre in Berlin. Entwicklung des spezifischen, synkopisch-fließenden Trademark-Sounds, der in Stefan Bethkes (Pole) Label Scape eine kongeniale Heimat fand. Die Hinwendung zu Bass, Dubstep und schließlich afrikanischen Elementen geht mit einem Umzug nach Lissabon einher. Ab hier kommen - in Kombination zum neuen Pseudonym Bodycode - verstärkt akustische Signaturen ins Spiel. Und mit "Alan Abrahams" jetzt auch noch Jazz und klassische Elemente.

Following on from his releases on Kolour Recordings and Profound, Berlin resident Ant Orange's latest 12' on Karaoke Kalk is an innovative record packed full of diverse and lively tracks. The five tunes on the single take in an extremely wide range of styles, fusing elements of tribal drumming, funky soul, nu jazz and deep house.
Omi gets the ball rolling with groovy off beats and a wonky kalimba melody to get your feet tapping. Yesterday is a funky dance-floor track while tunes like Are You Alon and The Look are filled with romance and vibes under the careful guise of eclectic electronica. The track Hands Together brings the 12' to a close drawing inspiration from the same Marlene Shaw vocal sample that St Germain used to such great effect on their hit Rose Rouge. Ant Orange brings a new twist to this iconic soul-jazz voice embedding it in a contemporary down-tempo groove.
Although originally from Leeds UK, Ant Orange has such an mixed range of influences and styles present in his music that the result in a truly global sound. Ant Orange relocated to Berlin some time ago where he now plays out at any opportunity, and with this new single he is again giving something back to his fellow vinyl junkies.

Shackleton's most expansive, ecstatic and hallucinatory music to date. Four longform pieces developing the free-flowing compositional aesthetic of his recent Deliverance series and Powerplant performances: fiery rhythmic-melodic turbulence channeling Congotronics way to the east — with an aura of restrained mania reminiscent of the feral pomp and gallows humour of Coil's moon-musick phase — all earthed by dubwise bass.

The pairing with Tomasini — whose history spans experimental theatre, cabaret and collaborations with Julia Kent and David Tibet, among many others — is a match made in heaven. With his four-octave voice swooping from deep growl to piercing falsetto, Tomasini's presence both heightens the taste for the theatrical that's always been integral to Shackleton's music, and makes explicit the latter's kinship to the occult energies of the UK's post-industrial underground.

As the title suggests, these are shadowy songs rich with allusions to bodily ritual and psychic exploration, with Tomasini's lyrics framed by luminous whirls of hand-struck drums and synthetic gamelan, bells and tumbling organ melodies. You Are The One escalates from delicate choral chant to full-bore psychedelic organ freakout, Rinse Out All Contaminants is a slow incantation, to purge all negative thoughts, the melodies of Father You Have Left Me are smudged like early Steve Reich, then burned out by snarling subs, and the magnificent Twelve Shared Addictions balances elliptical melodies like spinning plates, gradually unfurling into a breakneck storm of voice and hammered keys.

A remarkable collaboration that also, crucially, hints towards new emerging futures in the work of one of this decade's pioneers in electronic sound and rhythm.

a 100% roman release.

Ambient techno from Montreal label Temple.

Since 1987, Frak have been everyone's favourite, premier Swedish synthesizer-touching weirdos. Even if most people hadn't heard of them until 4 years ago. And yet, world of Frak is as long as it is wide. As blue as it is black. As ominous as it is glorious. As dirty as it is hairdryer. Sweet it is as yellow paper As.
All of the above is a perfect example of how trying to convey what Frak is in the crass form of words is ultimately fruitless.
Here is a double 12" vinyl product from Ultimate Hits featuring eight audio recordings from Frak: three men who have known each other since at least 1987. The sleeve was lovingly hand screen-printed at the studio of House of Traps, and features the colours commonly known as pink and black.

Limited One Sided 12". Jamie XX returns with a new single from his upcoming solo album. 'All Under One Roof Raving,' samples British artist Mark Leckey's 1999 documentary Fiorucci Made Me Hardcore and contains a groovy steel drum sample as well.

After a five-year hiatus, Canadian electronic music producers MSTRKRFT (Jesse F. Keeler & Al-P) are back.
Driven by distorted drum beats, hauntingly hypnotic synths and booming cinematic soul, OPERATOR immediately captivates.

It's probably the most accurate reflection of how we work on stage,' says Jesse. We had to be very creative with very few elements. It took time to figure that out.'

2011 was the last time we heard from MSTRKRFT with the release of the single Back in the USSA', following their Juno award-winning debut album The Looks in 2006. MSTRKRFT have released official remixes for everybody from Katy Perry and Kylie Minogue to Wolfmother, Justice and Bloc Party. 2009's Fist Of God boasted collaborations with the likes of John Legend, Ghostface Killah, E-40, N.O.R.E, Lil' Mo and more as it predicated an eventual crossover between hip-hop and electronic music on the horizon.

Nearly two years after his debut album, Bosq Y Orquestra De Madera, burst onto the scene with its varied rhythms and moods, Bosq is unleashing another batch of music for the dancefloor. His new album Celestial Strut is extending summer well past the autumnal equinox.

Not content to produce one style of music, Bosq takes you throughdisco ("Bad For Me". "Celestial Strut"), Latin rhythms ("Ella","Cumbia En Bahia"), and Afrobeat ("Bounce And Pull Up", "Take Over", "Pay The Price") with ease. Thinking of each album like a DJ set, he's always determined to inject many flavors but still keep a cohesive sound.
Helping to craft the album, collaborators such as Nicole Willis,Jesus Pagan Y Conjunto Barrio, and Kaleta chipped in with lyric writing, vocal duties, and riveting soundscapes. Recalls Bosq,"Jesus and the Conjunto Barrio helped me to re-record all my parts into live ones which gives it a greater authenticity and better
musicianship. I then took those parts to rework and modernize them." Bosq even co-wrote lyrics, a first for him, with his girlfriend on "Found Your Love." To add even more flair to the album,Caserta, someone Bosq greatly admires for being able to bring so much sonic depth, mixed several tracks on Celestial Strut.
Having already received extensive coverage through outlets like WaxPoetics, OkayAfrica, Remezcla, and Sound Color Vibration as well as DJing around the country at nightclubs and even Boston's Museum Of Fine Arts, he's traveled extensively to locales such as South America and Puerto Rico since his last album to find new inspiration and perspective."Everything influences you consciously or subconsciously. So this album definitely has a sense of my travels and spending time in other cultures, whether on the road or with my girl and her family. All that Latin culture immersion has opened up my cold Northeast heart a lot!" he openly expresses. Celestial Strut is a confident record based on musical and lifeexperience that finds Bosq less constrained and focusing more on musical textures than genre conformity. Although he contends that there is so much more musically that he wants to learn, his love for creation and the learning process continues to push him to produce some of the most exciting dance and internationally-flavored wax dishes this decade.

im morgengrauen, in den tiefen des meeres, dort, wo die bösen märchen erzählt werden und sich das wasser um die leblosen reste des vortages schließt wie dein mund um das letzte wort, weit unten im schlick, wo die welse den schlamm aufwühlen und kein jetzt auf das gestern folgt schimmert im schwarzen grund ein katzenauge, ein splitter nur, du hast ihn verloren, das ist schon lange her, du hast ihn nicht wiedergefunden, da ist er.
du in der leichenkälte spürst es fängt an, jetzt fängt es an: eine schwingung im schlamm, ein ton schon in farbe, eine lautkaskade im dreck, ein goldfisch im glas ein grauer rochen schiebt sich über die augen, ein zarter schlammregen verbirgt das.
hier unten, wo die zeit sich verliert und ich dich, wo kein stein auf dem anderen kein haus mehr bedeutet, wo die fette dame unlängst gesungen und der kirschbaum schon ausgeträumt hat, wo jeder zur arbeit geht und der rand an den rändern ausfranst:
ein elektrischer schlag - die mär von der schönheit - ein traum aus glas und nacht wider das grauen, die schwere in den gliedern, die wüste im gestern, den nachttopf im zimmer:
wir.hier.jetzt.im fieber - für immer.

"City Stellar" by Yan Kaylen is our first artist EP release following up to our debut VA album "Setting Forth" released in the fall 2015. Yan Kaylen is an electronic music artist from Paris, inspired by the Berlin techno and London bass-music scenes. His musical universe focuses on a tribal and minimalistic approach for rhythms as well as ambient, atmospheric, industrial and evolving textures. As a member and resident of the Exploration Music crew in Paris he started playing his own productions live in the summer 2013. He has since played in clubs such as Tresor, Concrete, La Machine du Moulin Rouge or Le Batofar, and has shared the stage with established artists such as Sigha, Skudge, Shifted, Clouds, Paula Temple, Objekt, Truncate, Goldie or Positive Centre. He is also part of the cinematic audiovisual project trio Dasein."City Stellar" is a six track, forty minute, journey through an ominous imaginary city. It starts off with the beatless ambient title track "City Stellar" setting the tone for the entire EP. It is followed by the 125 BPM dub techno-meets-dubstep sub heavy "Suspension Of Disbelief", while "Ancients Colony" concludes side A with an introspective tribal beat. "_Field" offers a moment of cautious rest in an imaginary playground with the sound of children playing in the distance. The pace picks up again with the epic "Mirage X84", a broken beat and lush pads filled techno number which then leaves us in the gloomy "Last Quadrant" not far from where we'd arrived in the Stellar City on the intro track.

2016 EP from Black Spirituals. Combines material from studio and live recordings, including a track from Seattle sessions with producer Randall Dunn (Earth, Sunno))), etc.). Originally a tour only release, now available for wider circulation. A preview for the forthcoming full length due later this year on SIGE. 'Two of the brightest musical minds of today - Marshall Trammell and Zachary James Watkins bring their skills and passion to Black Spirituals. Get this recording right away!' - Pauline Oliveros

- Follow-up to the much-loved first volume that compiled 79 - 84 productions and remixes by the legendary Adrian Sherwood, this second instalment charts a path through electro, industrial, noise, hip-hop, afrobeat and dub.
- Includes 5 completely unreleased tracks, and 4 that have never been heard since their original vinyl release.
- Features Lee Perry, Ministry, Tackhead, and KMFDM
- Extensive sleevenotes that tell the story of each track alongside archival photos, label scans and more.
Adrian Sherwood is an artist, producer and founder of the cult On-U Sound label. Much-loved by other musicians, as well as pioneering his own unique take on dub reggae, he's also worked with everyone from The Slits to Nine Inch Nails, Depeche Mode to The Fall, Blur to Einstürzende Neubauten. Still very active in the studio and as a touring artist, he has recently released a collaborative album with Bristol dubstep don Pinch, remixed Peaking Lights, and produced albums by Roots Manuva, Nisennenmondai and Coldcut.