Beats News

2016 Marble Repress !!

Who is Theme Theme is a well known Berlin producer focused on creating a new entity and sound that exists separately to his main production output. The Theme EP was produced in track order, as an exceptional vibe propelled him forward. Dub Techno meets 170 bpm music is the root of the Theme sound, but as you will hear when you sample the music, these tunes have created a whole new world of their own. Limited marbled vinyl 12" only

Anfang April veröffentlicht Ninja Tune das neue Album des Klanggenies Ash Koosha. Zu sagen, dass Ash Koosha, ein im Iran geborener und in London lebender Electronic-Musiker ist, kratzt lediglich an der Oberfläche dessen, was es über diesen bemerkenswerten Mann zu wissen gibt. Ein Synästhetiker, der Farben als Töne sieht, ein Virtual Reality Pionier, ein Software Humanist, ein politischer Kämpfer, ein ehemaliger Rockmusiker und Student der klassischen Musik - es gibt so viele Seiten von ihm, wie es Facetten in seiner fraktalen, komplexen, außerordentlichen Musik gibt. Koosha arbeitet hauptsächlich mit seinen eigenen Field Recordings, behandelt jede gesampelte Quelle als physikalisches Objekt, er quetscht, streckt, verzerrt und formt Soundeinheiten, bevor er einen Hintergrund aus klassischer Musik - persisch und westlich - hinzufügt, sicher auch ein Überbleibsel aus seiner Zeit am Teheran Conservatory of Music. Das Ergebnis strukturiert und formt er zu ergreifenden, originellen und oft wunderschönen Bewegungen - ein Prozess, den er als "Finden von Geometrie in Sounds" bezeichnet. Koosha hat schon mehr getan und erlebt, als die meisten Künstler in ihrer gesamten Lebenszeit: so saß er im Iran wegen seiner Musik im Gefängnis und musste in Großbritannien Asyl suchen.

On Myor Massiv's fourth installment, label boss Coco Bryce finds himself hopelessly lost in the jungle.
'Worries In Da Dance' starts off with a set of choppy breaks, reminscent of the Drumfunk heydays of the early noughties, until a clash host calls for further excitement and a flurry of Amen snares and crashes turn the jungle dial up to 11.
Fire' boasts a fine cocktail of 808 bass, reggae samples and Cold Sweat breaks, making for a nice lickle '94/'95 style roller.
Massiv' follows a more Rave-influenced path, melding pitched female vocals, clean and heavy subs and straight forward Amen patterns into an ode of sorts to Roy Lasprilla's crunchy-sounding yet oh-so-attractive hardcore/jungle hydrids from 20+ years ago.
'Himalaya' finds Coco Bryce stuck amidst a group of cave explorers and classic cartoon sound effects. His only way out seems to be by means of weaving together an escape ladder comprised of kicks, hats and snares lifted from a plethora of untamed drum loops. But alas, to no avail, as he is, and will be for the time being, firmly stuck in this world of chaos and disorder.

Leave your preconceptions behind because Ital Tek's brilliant new album 'Hollowed' is his best and most rewarding yet. Created from new beginnings, it's a journey through the naïve exploratory methods with which Alan Myson started to make music over a decade ago. The record is dark and maximalist but at the same time the huge sounds are minutely detailed and elegantly rendered.Cutting himself off in a new studio at the start of 2014, Alan experimented and worked out the core sounds of the album by going back to the techniques he started with: "when I was 15 I would make endless minidiscs with my guitar and effects. With this record I bought the guitar I wanted back then and hit record, creating hours of drones, loops and textures. I wanted to make the album that was in my head when I was 14 but I had no idea how to".With 'Hollowed' Ital Tek gone far beyond his earlier more dance-genre based work, leaving just the footprint and especially the sonic weight and space of dubstep. But the sound here is designed from the ground up and carved into something much more abstract, impressionistic and elegant. As Alan puts it "I'm moving away from dance music and letting sound inhabit a space without shoving everything at the listener in the first few bars". One of the biggest musical experiences that left an impression on him while recording this album was hearing "Henryk Gorecki's Symphony No 3' being played live, starting very small and soaring, then returning to stillness..." It was this that made him think about reassembling his approach to making music.

At this moment, Global Bass music is an intimate circuit in the electronic music landscape. Airplane tickets and the internet serve to connect producers and artists in every imaginable combination. Spanning across Africa, Europe, India, the Caribbean, and the Americas, allowing for the birth of new forms of collaboration. At the nexus of the Tropical music monsoon is producer Thor Partridge, aka Thornato. Born in Sweden, Thor grew up in a household filled with traditional Greek, African, and Carribbean music. Moving in early childhood to Queens, New York, the borough's diversity further influenced his style and taste. Thor added to his rich musical palette by studying classical piano, jazz guitar, and bluegrass banjo. A passion for electronic music production, remixing, and music of the entire globe soon developed. Thor's debut EP "Things Will Change" is an amalgamation of his global influence, coupled with strong roots in dance music culture. His music is not a product of samples downloaded from the internet, but from his driving wanderlust and ability to hand select musicians to work with on location in the countries where they are from. By recording in the field with a mobile studio, Thor captures the real essence and soul of the music and where it's coming from. The EP kicks off with "Chapinero", a bass heavy joint with an infectious Colombian Gaita melody. Handclaps and chopped vocal samples make for a booming floor rocker. "Deux a Duex" turns towards the African dancefloor incorporating infectious guitars and beautiful vocal harmonies courtesy of Kongo Electro from Cape Town. "Koz Kazah" heads to the Middle East with it's violin melodies, thick sub-bass, and Arabic vocals courtesy of Karen Be. Finally, "Tera Dewana" lands us in the Indian subcontinent with it's driving beat, tablas, and Hindi vocals from Vasanth S & AKS. Thornato's "Things Will Change" EP shows that while indeed the music does change, the soul and the heart of sounds from all over the world remain consistent, and that dancefloor music is universal - no matter where in the world you are!

Marc Nguyen Tan is a man outside of time. He is both an avant-garde pioneer and a modern classic. Colder, the electronic project he's helmed since 2003, inhabits a sonic world that drives into the future as much as it gazes into the past. His is a unique sound of noir-drenched highways of propulsive electronic cold wave, krautrock and post-punk, touched by everything from the Chromatics' bleary-eyed romanticism to the Horrors' atmospheric groove, via the teutonic precision of NEU! and Can.

Hot on the heels of Colder's third album Many Colours released late last year and Some Lost Tapes, a Record Store Day exclusive EP, June 24th sees the release of two new Colder albums: The Rain and Goodbye, themselves lost in time. A combination of new and reworked unreleased material from Colder's years at Trevor Jackson's now defunct Output label, Bataille Records is proud to unleash two new parts to the Colder story: Goodbye, a swaggering groove-laden album of synthesised jagged guitars and dynamic electronica, and The Rain, a more experimental record of glacial ambience and New Wave expressionism.

A testament to just how ahead of the curve Colder is, the two albums beguile and intrigue with their explorations of Gallic darkwave cool, a sound which would go on to influence everyone from LCD Soundsystem to Liars. Tan has always been a master of using his consummate understanding of music past to create music of the future. The time capsule opens, and Colder still sounds like the future.

Take 'Blackhole Speedway' from Goodbye: a stuttering motorik beat underpins snatched guitar stabs and a pulsing bassline, all with those hushed vocals that Colder makes his own. Elsewhere, the title track (and album closer, naturally) expands on the template by employing a throbbing synth figure, and melding it to an almost-blues riff, chugging away behind Tan's half-sung vocal. Goodbye feels more immediate and driving, with 'Sugar's 21st century sensual rockabilly pitching Kraftwerk in a Detroit dive bar, whereas 'Sad Faces' struts like a long lost circus sideshow helmed by Jim Morrison in the digital era.

Despite this unexpected torrent of new and upcoming releases, there remains a dark, perverse humour in Tan naming his new album Goodbye, leaving behind an ever characteristic shroud of ambiguity as to whether this is truly farewell, or an ending to engender many more beginnings.

Marc Nguyen Tan is a man outside of time. He is both an avant-garde pioneer and a modern classic. Colder, the electronic project he's helmed since 2003, inhabits a sonic world that drives into the future as much as it gazes into the past. His is a unique sound of noir-drenched highways of propulsive electronic cold wave, krautrock and post-punk, touched by everything from the Chromatics' bleary-eyed romanticism to the Horrors' atmospheric groove, via the teutonic precision of NEU! and Can.

Hot on the heels of Colder's third album Many Colours released late last year and Some Lost Tapes, a Record Store Day exclusive EP, June 24th sees the release of two new Colder albums: The Rain and Goodbye, themselves lost in time. A combination of new and reworked unreleased material from Colder's years at Trevor Jackson's now defunct Output label, Bataille Records is proud to unleash two new parts to the Colder story: Goodbye, a swaggering groove-laden album of synthesised jagged guitars and dynamic electronica, and The Rain, a more experimental record of glacial ambience and New Wave expressionism.

A testament to just how ahead of the curve Colder is, the two albums beguile and intrigue with their explorations of Gallic darkwave cool, a sound which would go on to influence everyone from LCD Soundsystem to Liars. Tan has always been a master of using his consummate understanding of music past to create music of the future. The time capsule opens, and Colder still sounds like the future.

In marked contrast, Colder explores a more introspective sound on The Rain, which is a record of evocative, cinematic electronica. 'Pass And Go (Demo Version)' highlights this beautifully with it's gentle, Lynchian sound of skittering slow motion jazz drums and ice-cold monotone bass, juxtaposed with a glistening Rhodes piano and subdued guitar. The Rain oozes melancholia, conjuring late night car journeys in long deserted post-apocalyptic towns. 'Market Day', 'RE 501 Friday Night' and 'Holy Night' evoke wonderfully intoxicating dark hues tinged with monochrome bleakness, yet feel strangely at home next to more upbeat tracks like the jerky hypnotic shuffle of 'All Along The Way'. Other delights include 'Mango Coconut', a great, big, rollicking rock tune that The Black Angels might have included on their Vietnam War-infused debut Passover, if only they had written it.

The two dialoguing records will be released simultaneously, seeing Colder expand on his triptych of studio albums, which culminated in 2015's critically lauded Many Colours. Not one to slow down, he is also currently working on a series of diverse collaborations including SAVE! - a project with Craig Higgins Jr from the acclaimed acid house revivalists Paranoid London, and an untitled dancefloor oriented project with revered Danish producer Kasper Bjørke.

Following up on his critically acclaimed - This Day' EP, Pomrad (BE) debuts his full length with On And On Records (FRA) & Jakarta Records (GER) worldwide this summer.

Pomrad a.k.a. Adriaan Van de Velde has lots of Funk in his colorful trickster bag. Just check out the title track - Knights' of his album: its beats chug like the wheels of a locomotive and electrifying synth solos guarantee the best brain freeze you've ever felt. He could be your favorites producer, favorite producer with Lefto & Mr. Carmack among his fans.
His debut album 'Knights', a collection of razor sharp keyboard licks, phat electro grooves and thick funk, following up on his EP release, which received radio support from MistaJam (BBC Radio1), Alex Nut (Rinse FM) & Lefto (Studio Brussels).
British tastemaker Gilles Peterson included one of Pomrad's tracks on one of the influential Brownswood Electric compilations. Future funk heroes Teeko & B.Bravo did the same for their second Tempo Dreams compilation.
Now, Knights exceeds these expectations and transcends the aforementioned comparisons, taking a leap into the unknown. Pomrad clearly has found his own voice. Because, yeah, there's postmodern retrofunk behind 'City lights' (a true gem!) and 'Rush Hour' & also, you'll find a couple of talented soul singers hiding inside Pomrad's cotton candy fantasies. Like Belgium's blue eyed soulstress Selah Sue or Sylvie Kreusch of indie darlings Soldier's Heart.
You want some cosmic funk, Herbie Hancock style You got it. Need some of that Hudson Mohawke-ish beat madness Or the kind of talkbox vibes that Zapp was known for in the eighties The Pomrad experience includes them all.
Just having finished his own Boiler Room Set in Brussels, Pomrad will be playing live Festivals all over Europe this summer including but not limited to Dour Festival (BE, July).

The fallen angel. The rebellious soul expelled from the pearly gates and forced to live in hell among mere mortals for eternity. Here they endeavour to condition and corrupt everything around them, a bold middle finger aimed in the direction of its former home in the promised land. Now imagine a soundtrack to this tragic tale. FunkinEven—also known as Steven Julien— has made just that with his debut album Fallen.

Split into two contrasting chapters, Fallen follows the trail of our main character. The first six songs introduce us to utopia, a collection which is matched by the light and airy tones of this initial set. The twist comes right down the middle, where we descend into the project's darker, hellish bogs. Both episodes intertwine seamlessly, and all composed, written and produced by Steven himself.

Julien plays the majority of the instruments you hear on the record, using session musicians — including three appearances from Hercules on bass — sparingly to plug any gaps. All the above choices combine to emit a contagious warmth that blankets the whole record. Within the dozen tracks, he jumps between everything from jazz fusion to techno. It's easily his best work to date.

Steven Julien first surfaced in 2009 with a refreshing sound unlike many of his contemporaries. While his peers flirted with R&B, abstract grime and whatever else, Julien forged his own path, one which partnered an organic, analogue sensibility with the sounds of electro, '80s funk, and acid. Initially affiliated with the Eglo camp, he eventually formed his own label, Apron Records, which has become a reliable outlet in its own right, not only for his own workings, but also as a home base for talents like Seven Davis Jr and Greg Beato. He's also proven to be an avid collaborator over the years, having worked with Fatima, Delroy Edwards, and, most notably, Kyle Hall, with whom he creates the unapologetically raw sounds of FunkinEvil.

The trio of singer Sarah Sulai, Hans Hustle, producer and guitarist, and drum pad enthusiast Manu L One takes the listener on a journey somewhere, though exactly where is hard to tell. Maybe it's somewhere between worlds, a parallel dimension between Hip Hop and Jazz, glitch drums and gentle harmonies, between groaning synthesizers and warm guitar riffs, somewhere between narrowness and infinite space. Inspired by artists such as Flying Lotus and Portishead, Akere experiments and creates music that lands far away from any stereotype. The group does not force a mix of existing genres. Instead, the resulting sound feels natural and effortless. Akere makes the music they want to make, or they have to make, or simply, that they make.

Aria Rostami and Daniel Blomquist's debut album "Wandering Eye" was recorded over the span of a year and a half. "Dome A" and "Dome B" were recorded inside of a planetarium dome to no audience and it was the second time Rostami and Blomquist played together. "Ridge A" is the latest song recorded and it was performed live in Blomquist's basement. These live tracks use source material ranging from samples from the internet, to live field recordings, to synthesizers. "Dome C" and "Dome F" were compiled by sending material back and forth over and over again and then rearranged into coherent songs. These studio recordings mostly consist of processed piano originally recorded by Rostami. "Ridge B" originated as a cover of the Persian pop song "Do Panjereh" by Googoosh that Rostami had created but was manipulated and distorted in the process of sending the material back and forth. The song titles come from a paper published by Saunders et al. titled "Where is the best site on Earth" which highlights the best places to observe space from the Antarctic Plateau. Antarctica is the coldest, driest and calmest place on earth. The astronomical sights there yield images of the heavens that are sharper and have more clarity than any other sight on earth. It is a gateway to observe other worlds.

Aria Rostami and Daniel Blomquist are from San Francisco, CA. Rostami and Blomquist's work occurs at two stages, the gathering/preparation of source material and the live performance. Primarily, Rostami and Blomquist's source material focuses on, digital information and the exchange of that information, repetition and decay, and non-involvement or surrendering aspects of creative control. Some of the piano recordings were created by answering a simple questionnaire Rostami made that uses letters, colors, numbers, major verse minor, and picking between flat, natural and sharp to create a framework for a composition. After the framework is created, Rostami creates a song on the piano, records and sends it to Blomquist who in turn manipulates it. In some cases, Rostami recorded the material using the audio recording option for the app Viber. Rostami used Viber to communicate with a friend who was visiting Iran. Since he had asked her to fill out the survey through the app, he also recorded the material through the low quality recording interface. Sometimes this material is thrown back and forth and sometimes it's processed only once or barely touched. The recording is then turned into a loop and recorded to tape. This system was developed to surrender control and allow the origin of the composition to come from somewhere else much like field recordings or sampling does (two other ways Rostami and Blomquist gather source material.) Time, entropy, and decay are central factors in Rostami and Blomquist's work. For live performances Blomquist works with samples gathered and manipulated digitally and then dubbed to analog tape, reconstituting the quality and predictability of the digital source material. By using loops, Blomquist can take a short audio clip and concentrate on processing it live and allow for improvised changes to that recording over long periods of time. Rostami adds in an extra layer of drones, fuzz, melodic ambience and crescendos with his synthesizer. Their compositions explore dynamic relations between digital and analog sound creating quiet transitions and soaring peaks.

4 ethereal house cuts from Vancouver's master analogue chef, coining the unique sound of Vancouver's underground to perfection with the laid back title track and the heavy dancefloor cuts "20% Deeper," 'Spanaeur" and 'Q1." Custom jacket.

Peripheral Records is proud to announce: a re-issue of the ultra-rare collaboration between JFK and the Grey Wolves, originally recorded and released on cassette in 1988 to commemorate the 25th anniversary of the Kennedy assassination. The music is a reflection not just on the event itself, but also on its implications and ramifications: the collective trauma and psychosis, the invasive cold war paranoia, rumours of shadow governments and the implied presence of the hidden, alien hand that guides and shapes human affairs to who-knows-what end."

Marsman started making hiphop beats in 2005. Pretty soon he found that making solely hiphop beats was a limitation he had to get rid of and that's when the basis of Marsman's music was born: No genres. He developed a foundation in experimentation and started exploring new niches - without going into a genre too deep to remain unique and to keep surprising himself with sounds and rhythms he had never heard before. That is the second rule in Marsman's music: He makes music for himself - as an expression of the (sub)conscious. In all his 15+ previous, mostly self-released, EP's you can clearly hear the development of his mindstate often going through feels of manic, chaotic and restless auditive experiments. Marsman has also been lucky enough to explore this experimental stage of composing and producing music by attending Utrecht's School of Music & Technology for some years. Though, this stage of experimentation will, in some way, never end. There is no end goal and there is only development to be unfolded.


Only just recently Marsman concluded that his main goal in music is to communicate his mind-states through the meditative powers of frequencies. He chose to take the time to be more conscious about what the music will communicate, instead of communicating his tracks that only rising from the subconscious.
The album has a lot more depth , tranquillity and imagination to it when compared with his earlier work.

The first effects of this insight are represented in this 45 minute long trip through memories, possibilities and personal realities. There's no definition of what it ís about - it just is, like most things in life, completely open for interpretation.

Meeting by Chance is a solo project of Marcin Cichy co-creator of the legendary Polish duo Skalpel (Ninja Tune), one of the most important talents from Poland to come into the international limelight.

"Changes" is second LP from Marcin released unexpectedly after critically acclaimed debiut "Inside Out" . Musically you will find an eclectic blend of jazz, leftfield, tiphop and ambient here. Marcin, always a very careful observer, took inspiration for Meeting By Chance from a sequence photography by Duane Michals entitled "Chance Meeting" comprising of six photos of two passing strangers. The sequence has no definite end but rather a pregnant pause, and this combined with freezeframe creates a space. This gave Marcin the idea for music that fills this space with a magical and dreamy soundscape filled with creative, sublime sensitivity, giving both the composer and listeners a brief portal away from hectic reality. Meeting by Chance also takes its influence from a chance meeting with four vocalists who are featured throughout the entire album. Noah (Flau - Japan) subtle voice noticed by Guardian as the "best new bands of 2015" head to head with Little Simz, White, Mura Masa and more . Gustav Ahr young trip-hop talent from New York . And finally Magda Nazgarøth and Karol Wróblewski (Small Mechanics) - his voice is often compared with Jamie Woon . Both from Poland.

Following up on his critically acclaimed - This Day' EP, Pomrad (BE) debuts his full length with On And On Records (FRA) & Jakarta Records (GER) worldwide this summer.

Pomrad a.k.a. Adriaan Van de Velde has lots of Funk in his colorful trickster bag. Just check out the title track - Knights' of his album: its beats chug like the wheels of a locomotive and electrifying synth solos guarantee the best brain freeze you've ever felt. He could be your favorites producer, favorite producer with Lefto & Mr. Carmack among his fans.
His debut album 'Knights', a collection of razor sharp keyboard licks, phat electro grooves and thick funk, following up on his EP release, which received radio support from MistaJam (BBC Radio1), Alex Nut (Rinse FM) & Lefto (Studio Brussels).
British tastemaker Gilles Peterson included one of Pomrad's tracks on one of the influential Brownswood Electric compilations. Future funk heroes Teeko & B.Bravo did the same for their second Tempo Dreams compilation.
Now, Knights exceeds these expectations and transcends the aforementioned comparisons, taking a leap into the unknown. Pomrad clearly has found his own voice. Because, yeah, there's postmodern retrofunk behind 'City lights' (a true gem!) and 'Rush Hour' & also, you'll find a couple of talented soul singers hiding inside Pomrad's cotton candy fantasies. Like Belgium's blue eyed soulstress Selah Sue or Sylvie Kreusch of indie darlings Soldier's Heart.
You want some cosmic funk, Herbie Hancock style You got it. Need some of that Hudson Mohawke-ish beat madness Or the kind of talkbox vibes that Zapp was known for in the eighties The Pomrad experience includes them all.
Just having finished his own Boiler Room Set in Brussels, Pomrad will be playing live Festivals all over Europe this summer including but not limited to Dour Festival (BE, July).

Following Golf Channel's release of Orange Cloud Nine', a retrospective by enigmatic Dutch musician Spike Wolters, whose four privately pressed LP's from the 80's are the stuff of legend, comes a remix album featuring some of Golf Channel's finest, including Juju &Jordash, Mark E, Abel Nagengast, Chris Munoz aka Sexican, DJ Nature and Mind Fair.

An album of 80's avant-garde gold that brims with an otherworldly charm, Golf Channel lovingly compiled the four LPs of the greatly eccentric and elusive Spike Wolters and brought it to a new generation of music fans with the 16-track album in 2013. A fiercely political outsider who sued his government for lifetime rights to the dole, he dropped out of society and during the 80's produced a string of LP's which he pressed and sold himself. These sank without trace but were happened upon a few years ago by Red Light Records' ardent digger Abel Nagengast. Abel managed to track down Spike himself, and Spike finally agreed to reissue his music after meeting Golf Channel Recordings label boss Phil South and taking an instant shine to him on account of the holes in his socks.

This new release sees Spike's beloved pop songs remixed by expertly skilled and likeminded talents who also call South's esteemed label home. JuJu&Jordash bring the dark and brooding heat for a deeply immersive remix that creates a meditative energy. Birmingham's fated patron of lush, slow-mo disco Mark E turns in an epic slow burner, whilst Sexican (responsible for Heroes of the Galleon Trade) and Abel tap into Spike's core duality, where strains of Balearic drenched pop rub elbows with post-punk - to deliver taut workouts wrapped in upbeat sleaze. NY's legend DJ Nature cranks things up a notch for a deep and rhythmic edit that walks the line between disco and house, whilst Mind Fair rounds things up with a remix that's alive with playfulness and grace, mixing disco and new wave with Spike's ethereal folk.

* Rose is presented as a clear laser etched vinyl edition featuring artwork by Mark Titchner. The record is released by Omne a new London based sound and text based publishing platform.
* Grumbling Fur present the music for Mark Titchner's film installation Rose. Developed as meeting point between Daniel O'Sullivan and Alexander Tucker's collaborative music project and Titchner's expanded moving image and text based works the project was initially presented at Dilston Grove in London during summer 2014.
* The music continues Grumbling Fur's immersion into a haunting legacy of British folk and outsider electronics, bringing these worlds together within an enveloping field of sensory speech and sounds evoking both transcendent bliss and introspective paranoia. The music mirrors Rose's thematic influence's, drawing from the desires of individual hope and aspiration as well as interrogation techniques found in the declassified CIA Kubark manual.

Second in the - Bullets' compilation series comes a selection of eerie dance music. 4 Track EP.. Limited Edition!
Jimmy Winkle, the wizard behind the imaginative soundscapes of the Torquay-based Greta Cottage Workshop Radio, wrings a track out of Ajukaja and Mart Avi's lost collaboration. Watch out for more Winklemagic on our future pressings! Dima Disk, a rising duo from Tallinn, soothes your soul with some morning techno while - Dissapointed' by Neuronphase aka Anti Aaver (pillar of Tartu's underground music for the last 20 years) staggers down on soft pillows. The compilation ends with a revelation. Superstar & Star, a genius yet-to-be-recognized, is a home recording artist and the admin of the wonderful YouTube channel NEVILLE LAWRENCE. Originally from Trinidad & Tobago, he now spends his time in the steamy bars of Omaha, Nebraska. This is the first official release of his work. We are honored to showcase his stunning "Looking at the Stars and Heavens" with customized adjustments by the legendary Tallinn-via-London DJ Rhythm Doctor (Mutant Disco).

Acid Park is an eight movement suite for synthesizers, samplers, and voice. Born from balancing a love/hate relationship with song structure, baroque music, and soundart, Acid Park projects the most embarrassing aspects of each form as radical, chaotic elements organized by traditional constructs of composition.
Her writing process was simple, yet meticulous. All of the tracks were built as collages by toying with sounds first, before cutting, pasting, and manipulating them in various ways. Ohal worked with each synth instrument as a closed system: she extracted sounds and repurposed them into complex textures and melodies. The percussion sounds on Acid Park were derived from this same process, but slowed down or sped up on tape and recorded back to the computer before landing in the mix.
Ohal wrote Acid Park with a cyclical listening experience in mind. These eight songs grow and fold into each other, feeding on themselves like an ouroboros of lysergic emanations.

Kicking off this four track EP is one of Yuri's most dynamic productions to date. Wildly oscillating synths and snapping handclap-led house beats drive 'East West Connection', while what starts out as an acid synth shifts through a cycle of changes before evolving into a Detroit-style riff.

Both 'Nervous Arp' and 'Morning at Home' take the same palette of sounds into much deeper territory, touching base with electro funk and straight up jazz-fusion, highlighting Yuri's versatile musicality and distinctive production style.

'Modular' is an older track of Yuri's - a non-stop ride through wonky, synthesized fusion with hypnotic keys and rolling drums.

Luxury limited edition 4LP box of Skint's 20th anniversary package.
'20 Years Of Being Skint' celebrates Skint records and its rich history of brassic beats.

Established in 1995 as a sub-label to the infamous Loaded Records, Skint quickly became a major player in the independent music scene, releasing a massive range of underground classics and chart hitting anthems.
To celebrate the Anniversary of the label they've delved into the archives and plucked out some of their finest moments as well as pulling in new armoury that continues the tale of big beats.
This compilation highlights the timeline of memorable events at Skint Records and looks to the future with as much enthusiasm as when the label kicked off at SKINT001.

Dark & doomy dub from 1/2 of Cage Suburbia. Comes with a remix by DHR alumnus Christoph De Babalon

12" comes with screen printed sleeve

RYL Demdike Stare, Muslimgauze, Vessel

Limited to 300 copies

"J M S Khosa and Brassfoot are back with the second installment of their tape series and it's every bit as manic and deranged as the first offering. You may know Brassfoot from the hot records he's been dropping thick and fast on the likes of Apron Records, Unknown to the Unknown and Bio Rhythm and his collaboration with his Japan based friend J M Khosah is proving to be very fertile indeed. Swinging from jagged electro to mind crushing techno soundscapes to field recordings this is quality from start to finish." - The Ran$om Note
Professionally dubbed 50-min Chrome Plus Type II Red Cassette tape.

French composer and Ondes Martenot virtuoso, Christine Ott releases her first full-length album since 2009 and her debut record for Gizeh Records. Only Silence Remains is beautifully melodic and filled with mystery, seeing multi-instrumentalist Ott performing on a variety of different instruments throughout the record.
Ott's creations are nothing short of magical, with the piano taking centre stage throughout, accompanied perfectly by the Ondes Martenot, harmonium, tubular bells and percussion. This music is revelatory in its ability to transport you to another time or perhaps even another world. It's nocturnal qualities coupled with subtle romance reveal an artist at the top of her game. Only Silence Remains seeps into your unconscious, and rewards with repeated listening.
From movie soundtracks to opera, through improvisation, contemporary music, theatre plays, dance or rock music, Christine Ott's musical path has always been guided with a 'no limit' spirit and will to share her passion for new sounds with others. Ott is a true eclectic artist with a musical journey that knows no concessions, always driven by an insatiable curiosity, uncompromising musical choices, and cooperations born with passion and heart. Collaborations with the likes of Yann Tiersen, Radiohead, Tindersticks, Syd Matters, Daau, Raphelson, Noir Désir, Vénus, Oiseaux-Tempête, Foudre, and Mondkopf have lasted over time.... Her music is all together unclassifiable, disturbing, inspired and melodious.
Ott is a mischievous, extraterrestrial being. Always looking for new and interesting ways to work, she does not settle on one instrument, such as the Ondes Martenot: an enigmatic electronic musical instrument invented by Maurice Martenot in 1928. Nor does she settle on one musical style: she is working with an ever-present passion to shuffle the cards. Ott has been an integral part of Yann Tiersen's experimental band for the past ten years, contributing on both recorded material and live shows alongside a vast amount of other work for theatre, film and dance.
Christine Ott opened for Tindersticks on their recent European tour.

Monster Beats, Exclusive Scratches, Crazy Metaloop... NOT ONLY FOR DJ!

DJ Shadow, widely acknowledged as a crucial figure in the development of experimental, instrumental hip-hop, will return with 'The Mountain Will Fall' via Mass Appeal Records, his first full length release since 2011. The 12-track album finds DJ Shadow exploring new realms in addition to the deep samples and kinetic soundscapes that helped to launch his career 20 years ago. On 'The Mountain Will Fall' he's shifted further toward original composition, a vast experimentation of beats and textures, synthesizers and live instruments including horns and woodwinds. The album features Run The Jewels, Nils Frahm, Matthew Halsall, Ernie Fresh and more.

..worth it's wait.

Dominos Produzentengenie Jon Hopkins veröffentlicht mit "Asleep Versions" eine 4-Song EP auf CD & 12 Inch mit Bearbeitungen von Songs aus seinem aktuellen Album "Immunity" inklusive Vocal-Features von King Creosote und Raphaelle Standell.

Padre Himalaya's first release sees Renato step up to the plate: a young producer from Lisboa gracing us with his debut EP. The 'Alo Alo' Ep contains 3 organic groovy tracks with a slightly sense of humour which marks the identity of the Renato project. Super fresh sounds from Portuguese underground that comes HIGHLY RECOMMENDED!!

Widely recognised as one of the greatest and most influential game soundtracks of all time, STREETS OF RAGE 2 remains a towering achievement of the 16bit era. Data Discs is extremely proud to be releasing this masterpiece of FM synthesis, composed by Yuzo Koshiro in 1992 and sounding more relevant today than ever.

The audio has been carefully remastered using multiple sources, including the original NEC PC-88 files supplied by Koshiro himself, and packaged in original artwork sourced from the SEGA archives in Japan.

- 2 x 180g transparent vinyl
- Includes four bonus tracks of demos, alternate versions and unused compositions
- 2 x lithographic prints featuring archival artwork
- Packaged in a gatefold sleeve with traditional OBI strip
- Fully remastered in collaboration with and approved by composer Yuzo Koshiro

Grammy Award winning act DEEP FOREST are set to release new album EVO DEVO on the 10th June via Metropolis Records. Deep Forests' Signature-Anthem Sweet Lullaby' instantly opened the world stage for the band. Their associated first album became a huge success and gained gold, platinum or double-platinum status in numerous countries like Australia, France, Germany, Great Britain, Japan or the United States. In 1995 Deep Forest won the prestigious Grammy Award for their album Boheme. They were the first French artists to win a Grammy Award and to this day, they only share this honour with Daft Punk.

Grammy Award winning act DEEP FOREST are set to release new album EVO DEVO on the 10th June via Metropolis Records. Deep Forests' Signature-Anthem Sweet Lullaby' instantly opened the world stage for the band. Their associated first album became a huge success and gained gold, platinum or double-platinum status in numerous countries like Australia, France, Germany, Great Britain, Japan or the United States. In 1995 Deep Forest won the prestigious Grammy Award for their album Boheme. They were the first French artists to win a Grammy Award and to this day, they only share this honour with Daft Punk.

Debut LP of Manuel Carvalho, half of Paralaxe Editions, under his Manta moniker, after a self released CDR and a tape on Marvellous Tone. Inching a few steps towards the dance floor, 'Citadel' revolves around notions of space and its emotional resonance within the human psyche, conjuring visions of Detroit Techno or early Warp into a Ballardesque dream of hazy synth lines, layered percussion and glassy textures. Over six tracks, Manta ebbs and flows seamlessly from the neon lit utopias of 'Kayseri' and 'Grid', through to the paranoia infused thumping rhythms of 'Citadel' and 'Blackwater' and into the synthetic tropics of 'Ghost' and 'Grid', all the while creating a headspace where Juan Atkins, B12, Porter Ricks or Black Dice all fit within the same dimension.

The forthcoming release on Love Thy Neighbour features the first commercial release for Brighton-based Merlin Tonto. Named after an early-80's brand of personal computer, it is therefore fitting that the EP is housed in a 5.25'' floppy disc.

Formed in 2013, Merlin Tonto (Owen Thomas (electronics), Miles Boyd (bass) and Steffan Eliades (drums) combine a patient, ever building, subliminal connection in the rhythm section with Owen's virtuoso manipulation of electronics and visual interpretations of the band's otherworldly sounds. It was clear from early performances that this was the genesis of a special band and their brilliance as a live act has seen them support bands as varied as Errors, Disappears, Esben & The Witch and Follakzoid. Their first recorded demos showcased a fantastic flair for merging the sounds of the contemporary dance floor with decidedly human sounding percussion and bass, as if Carl Craig visited Cologne '72. Their as yet unreleased EP 'Baotou', due out on 8th April 2016 on Love Thy Neighbour, moves things forward significantly, recalling at various times Factory Floor, ESG and Leftfield. It's all done in their idiosyncratic way, the music is never in a hurry to get anywhere, their restraint meaning the joy is as much in the journey as the destination.