Beats News

Clattering drums hum alongside the chatter of birds, the trickle of rain, and the billowing of wind chimes, as Marina Price layers on her smooth, smoky vocals, creating gorgeous soundscapes.

Very cool 9 track album of "music for infomercials and action movies that were never made." Done by two producers connected with the
SOUL CLAP label. Fans of cool instrumental electronic/soundtrack music will dig it.

The force known as 33.10.3402 has built a cult following in certain circles through the years with his adventerous production approach and execution.
With numerous releases on labels such as ESP Institute, KUNSTKOPF, and most recently Second Circle we now see his appearence for the first time on L.I.E.S.

33.10.3402 perfectly balances his sound and presentation with this three track effort where we hear tones and rhythms that can go from baleric to metal beat in the blink of an eye. With looming clouds clearing for the light of day and then back again, these tracks sonically play with the emotions and serve equally as dancefloor cuts or for home listening bugout sessions.

Alex Menzies, more commonly known as Alex Smoke, has a techno career spanning 15 years, DJing & playing live the world over numerous times and culminating with a recent string of heady twelves for the inimitable R&S label. The first in a two part series of BBC documentary soundtrack work for Kathexis , 'Order & Disorder' sees Menzies using a sound palette of mostly orchestral instrumentation, including, voice, cello, prepared piano as well as electronic sources like the ondes martenot

Dark Entries digs deeper in to the archives of Severed Heads, one of the longest surviving bands to emerge from the Australian post-punk independent music scene. They began in Sydney in 1979, incorporating elements of 'industrial' noise-generation, tape cutting & looping and electronic sound synthesis. As the project developed song-structures and vocals were employed in a more-or-less recognizable mutant electro pop style. In 1986 the band released the 12' single Petrol' on Nettwerk Records. We've decided to shed light on the evolution of Petrol' with this EP showcasing four earlier incarnations of what became an instant synth pop classic.

Petrol', originally titled Lamborghini', was written by Garry Bradbury and Tom Ellard in 1981. The first version of the song featured vocals by Finoa Graham and music by Tom Ellard. Lamborghini' was featured on a compilation of Experimental Australian bands titled Entrave Et Étouffement, From Australia...' released by L'Invitation Au Suicide in April 1982. DJs in Chicago discovered the import compilation and Lamborghini' became a proto-House secret weapon, traded on mix tapes. In July 1982, the band was invited to record several songs on Metro TV in Sydney to demonstrate the video synthesizer, a new piece of equipment played by Stephen Jones. The video synthesizer was installed into Metro's control room above the main studio to process the performance in real time on two cameras while recording to video. Tom Ellard and Garry Bradbury were using analog synths and tape recorders along with the screaming guitar work of Simon Knuckey, while Garry took over vocal duties. In 1984 Tom took another stab at the song, re-recording and singing Petrol' for the compilation Beyond The Southern Cross', a double compilation album of Electronic and Post-Punk bands from Australia and New Zealand. Finally in 1985, the band went into the Terse Tapes studio with producer Robert Racic to record Petrol' for a 7' single release on Volition Records. Featured here is the B-side of the 7', a cut-up dub version' remixed by Racic and packed full of intensity.

All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in a jacket featuring brightly colored, distorted, VHS graphics output by Stephen Jones' video synthesizer created by Tom Ellard video piece Kato Gets The Girl' in 1985, designed by Eloise Leigh. Each copy includes a postcard with notes and original hand-written lyrics by Garry Bradbury. More than 30 years later Severed Heads are still paving the way for powerful imaginative challenging music far and wide.

Mengamuk seeps out from a Camberwell garret via the sweet sea scum of Terrengganu via a faint dusting of eczema via the DLR via distempered brass via engorged staves via broiled nuance via priapic 16ths via gentlemanly conduct via binary quicksand via Basingstoke via Beyer via a short in the spoken word via herring via industrial climes via salt via a fucking good slap round the chops via Korg via taxi highwaymen via viols & vials...once again Vindicatrix smears the air with the heady scent of amok...BM

Hazy, snare-heavy, house stompers. John Swing's percussive edit gives a gritty, tropical twist to B's beats, clicks and terse samples.

Ekoplekz & Baron Mordant spew up a third album of slipshod rhyMes and disintergrating chiMes...nuff said - he wrest is embedded in ferrous carriers that put food ohm our tables, so buy before we oxidise...IBM/EZ

In the spirit of 1960's and 1970's futurism, when tuned in musical explorers developed avant-garde music that reflected Man's newly expanded frontiers temporal and beyond, Berlin based Argentine producer Nico Purman brings us AOM002 on his label Art Of Memory. Themes of exploration, new horizons, and a deepening appreciation of our place in the expanding infinite are the concepts Nico evokes with *AOM002*. Evolving and maturing from functional dance tracks of his past, Purman defines a deep expanse bound only by the imagination of the listener and their openness of mind. Bass moves the soul while synth and space free the mind from earthly confines, lifting off from A1 and leaving you in orbit with D2. Conjuring the workflow of vanguard pioneers, Nico employed the same analog tools and limitations of his New Wave science fiction driven forefathers. Purman succeeds in channeling this deep reservoir while carrying their torch, evolving their lessons with modern eyes, ears, and consciousness. To label Nico's *AOM002* as techno would be tantamount to calling Kubrick's 2001 a film or the Saturn V merely a rocket. All are much more than that. They are manifestations of ideas, art, and technology that transport the mind and signal the rise of a new understanding as constraints and boundaries fall. They collectively intend to incite wonder, leave terrestrial confines, and urge you look up at the night sky to wonder ever farther, ever deeper. The late 1960's and early 1970's gave us 5 years of moon missions, the first view of our lonely blue dot, the inspiration of math and science, and New Wave science fiction. From this vaulted era Nico seemly pulls to create *AOM002*, seeking to reinspire us to reach for the stars and welcome the new reality they bring. AOM002 is a conceptual release splited in two parts.

Originally released as a strictly limited 10-inch vinyl record exclusive on Record Store Day 2012, this long sold-out must-have for fans of these two artists will finally be re-issued - this time in 12-inch format!
Erased Tapes label mates Ólafur Arnalds and Nils Frahm recorded and mixed their first collaborative record between Reyjkjavík and Berlin as a surprise release for label founder Robert Raths.
The ambient/electronic work 'Stare' is a true family effort with long-time collaborator Anne Müller joining in on cello and all graphics created by close label-friend and designer Torsten Posselt of FELD Studios.

Words by Nils Frahm: 'I heard 'Eulogy For Evolution' for the first time six years ago and I was totally captivated. Impossible to know back then that I was supposed to meet Ólafur many years later as my label mate. Later when he took me along a tour of his we also noted that we kind of like hanging out together, doing important things like cover versions of long forgotten songs or eating veggie pizza. Also he would join my live set for a jam and I would return the favour by playing along with his set.

All in all, I fell for Óli and after one memorable jam session we had in Berlin at Roter Salon in 2011, he finally proposed the idea to visit me in my studio in Berlin to work on 'some music'. I was happy and delighted about that idea, so we got together in April 2011 and after having a big pizza, I plugged in some old analogue synths and we played for four days until late in the night. Also queen Anne Müller stopped by after a show with Agnes Obel to record some cello at 5 am in the morning for 'b1'. Making music together with people is lovely!

The time I spent with Óli in Berlin made me very happy and the music wasn't like anything I have heard before. It was all very reduced and minimal and I felt like I couldn't have done this alone. So we decided to do another 4-day jam at Óli´s E7 studio in Reykjavik. So I flew there in the end of October 2011 to repeat the trick and record some out of this world ambient music. It didn't take us too long to write 'a1' and 'a2'. I can't wait for the follow up!'

LTD Edition LP+MP3 - Pool only! 50 EH!

Die 7-köpfige Band lässt basslastige(n) Electronica, Jazz, R&B und Soul zu einem eigenwilligen Mix verschmelzen, der sie zu einer der wichtigsten Bands ihres Genres macht. "Colour Theory" stellt einen neuen Maßstab für Submotion Orchestra dar: Die Erweiterung ihrer filmischen, höchst strukturierten Electronica formt ein Album von immenser Selbstsicherheit und epischem Umfang. Mit prominenter Unterstützung von Andrew Ashong (Sound Signature / Which Way), Royce Wood Jr., Catching Flies und natürlich der großartigen Ruby Wood, entfaltet das Album neu gewonnenes Vertrauen und Dynamik wie z.B im Vorab-Track "Kimono". "Kimono" ist ein wahrhaft schillernder Four-to-the-floor Groove, der an John Talabot erinnert.

Butch Webster aka Butcher Bear, was born in Austin, TX at the old Brackenridge hospital that later burned down. He's one of the co-founders of the producer-based event & crew; Exploded Drawing, he books the club, the North Door and he owns and operates (iN)Sect Records in the capital city of Texas.

Musically he goes from boom-bap hip-hop to new wave to nightmarish house to new territories of sound altogether. His production is steeped in live instrumentation, growing up as a kid playing drums/gtr/keys/anything around, his bastardized sounds and production weave samples with snatched up sonics.

The MC's featured on the album are all people he considers family, each adding their own flavors, while the main theme stays in tact. 'What are you saving it for Let the music air out. Breathe Deep. Stay Original.' Artwork was painted by Aaron Guadamuz, the artist behind Quasimoto's first 12", "C'mon Feet".
'Don't forget, there's a drought, be generous with your creativity.' - Rich Jacobs LIMITED VINYL RELEASE EXCLUSIVELY FOR GANGSIGNS72 HAND STAMPED WITH WRAPAROUND POSTER SLEEVE. INCLUDES EXCLUSIVE REMIXES BY SHIT AND SHINE AND RAS G

Ewan Mackenzie aka Dextro returns with a third album, expanding the musical and auditory scope of a brooding and uplifting sound. Following the acclaimed Consequence Music (Gronland Records, 2007, alongside Neu!, Harmonia), Winded (16k records, 2009) and releases through James Holden's Border Community, A Strangely Isolated Place and Ninjatune, In the crossing takes Dextro into new musical territory shaped by haunting minimalist melodies, drone, candid rhythms and psychedelic experimentation.

As Dextro, Mackenzie has been committed to creating primarily instrumental soundscapes built from his own recordings, be it piano, percussion, guitar or found sounds from a range of urban or natural surroundings. In part, the album is reminiscent of Dextro's live performances alongside Loscil, Bonobo and Jacaszek, where live percussion, guitar and synth drones interchange to create what commentators have described as feeling 'akin to climbing and descending a mountain'. From the motorik beats and synth driven exploits of 'Break off', to the haunting piano of 'Clearing', In the crossing charts a journey that brings the indescribable into focus.

Cellar, the second solo EP from NA (Daniel Pineda of Nguzunguzu) on Fade to Mind, is a kinetic and brooding journey through the ominous side of club music, a personal vision of dystopia and angst. With 5 tracks that showcase NA's wide-ranging musical influences, the record provides a personal manifesto for Pineda's vision of club music for darker times.

His previous releases as NA and Nguzunguzu have received support from Pitchfork, FACT Mag, Resident Advisor, Fader, Dummy Mag, Red Bull Music Academy, Pigeons & Planes as well as radio play from Benji B, Diplo and B Traits on Radio 1, as well as Tom Ravenscroft and Tom Robinson on BBC 6Music.

Texturally, all tracks on Cellar Theme are drawn together by aggressive metallic manipulations, crisp percussion and devastating low-end. Highlighting NA's technical skills as a producer, there is a careful balance between distortion and direct sound, resulting in highly atmospheric yet club-ready experiments. Thematically, each track is imagined as a different room in a dungeon complex with it's own distinct challenges and dangers to dismantle. Evoking both pain and pleasure, each discovery may lead to a new wonder, or descends into a fresh horror.

Though not his first solo project, Cellar Theme has allowed NA to follow certain individual impulses, hone in and craft his own brooding sound. 'The Claw spawned me to make the drum kit and the MPC sequences that formed the basis for Cellar Theme, which was the jump off for this whole record concept,' says Pineda, referring to the collaborative live act featuring himself, Asma Maroof (½ of Nguzunguzu), Ezra Rubin (Kingdom) and Ashland Mines (Total Freedom). A summation of his influences and an insight into his personal sonic environment, Cellar Theme sets the tone for Fade to Mind's 2016 releases and a follow up to his previous Xtreme Tremble EP.

Self release from the artist formerly known as Inga Copeland. Pop length songs, instrumentals & abstractions. To the point and powerful. Featuring a co-production with Actress. An excellent record that's swept us off our feet! Limited Copies... TIP!
"spill a tear and then you cry for ldn
is it the kinda place you'd die for
how does it feel to be lied to
but then again what's a girl to do"

Facta And K-Lone's Wisdom Teeth imprint delivers another split 12' of hybrid new school sounds: three individually stepping, swinging, subtly-tripping, dubbed-out, twisted, sub-low UK-rooted technoid mutations!

2nd release on the zyntax motorcity - imprint by Anokie. The Mini-LP includes six sci-fi-electrotracks on red wax. The stuff always set the stage for an epic story, yet remain accessible, fresh and funky, with an edgy experimental side. NO download - Vinyl ONLY - 200 copies!

London-based producer Guy Andrews is renowned for creating textural electronic music, combining influences from post-rock, techno, ambient and afrobeat. After releasing on Hemlock, Hotflush and Pennyroyal, scoring for photographer Nadav Kander, and remixing Massive Attack's Robert Del Naja, he makes his Houndstooth debut with 'In Autumn Arms'. On the title track, a simple guitar melody falls melancholically over a bed of synth loops and string ensemble, while snares and thundering drums meld with distortion to heighten the tension. 'Let Your Shadow Decide' is the A-side's darker, downbeat counterpart, opening with tremolo strings and a weighty bass-line, while emphatic drums build toward the track's climax. Although seemingly disparate, Guy's use of wall-of-sound noise and softer strings is skilfully mixed, carried forward by the stark guitar lead.

Cut and mastered by Matt Colton, the 7' single is pressed to dinked vinyl in autumnal orange, and limited to 300 copies worldwide.

The second album from 2009 mastered by Christian Wright at Abbey Road studios. The Quotes: "Focused and brilliant" (i-D), and "WhoMadeWho return with all the dancefloor straddling guitar grooves of their debut" (MusicWeek)

The Danish 3-piece band from Copenhagen founded in 2003 is playing a mix of no-wave, punk-funk and sneeky covers. Since then the group supported Daft Punk, LCD Soundsystem, Soulwax and Justice! Who Made Who are: Tomas Barfod (drums and electronic noodling), Tomas Hoffding (vocals) and Jeppe Kjellberg (guitar).

"The band combines three completely different musical characters and merges them into a fresh new whole: Jeppe Kjellberg - the walrus bearded guitar player, has been part of the New Yorks experimental Rock and Jazz scene for years. He has even recorded a mini album with David Tronzo - guitar player of the legendary Lounge Lizards. Tomas Høffding - the bass man with the falsettovoice, has his roots in the Scandinavian Garage Rock scene (but always has been in love with fat discobasslines). And Tomas Barfod aka Tomboy is not only the drummer of the band but he's also known for producing some of the hottest Advanced Electro/ House music of the moment for labels such as Turbo, Kitsune and Get Physical. Now, here's the band's new album. 13 songs that are the perfect example for a band who uses a tiny production budget to widen, expand and multi-colorize their sound without losing their soul. There's a sexual and sensual authenticity to the breathed echoes of their first album. 13 songs which, when heard by Christian Wright - the legendary engineering-maestro at London's Abbey Road studios - lead to the point that he at all costs wanted to master this record by himself. The Danish guys created a brand new pop sound influenced by early 70ies Progrock as well as the complex side of disco music, with a very rough DIY pop approach and some well integrated electronic bits and drum sounds."

Over the last 12 years, Kel McKeown, or Kelpe, has carved himself a unique perch in the UK's electronic underground. Across several full-lengths, EPs and remix projects, his misfit electronica has managed to cohere a staggeringly deep spectrum of influence along the way. A natural son and heir to Generation Warp and the fathers of Krautrock, his pioneering experiments in the early '00s also positioned him as one of many stylistic precursors to the arrival of LA's now-sprawling beat scene. Much like scene-savants Prefuse 73 and Dimlite, Kelpe has remained an enormously respected stalwart of the fringes, always dabbling variously in sample-heavy beat-craft, oddball ambient, and - more recently - dancefloor-ready club grub.

In 2013, he christened his newly-born imprint DRUT Recordings with 'Fourth: The Golden Eagle', its first feature- length. After seeing out releases from Chesslo Junior and 1000names, Kelpe returns to grace his still-young imprint with a second full-length: 'The Curved Line'. Like its celebrated predecessor, it's a record transfixed on tonality and texture - Korgs, Moogs and pocket pianos all feature heavily across the album's rich palette. The exciting sonic bursts of his last effort have evolved confidently and blown out into soaring progressions and flowing structures - all evidence of a tireless producer gunning to out-do himself.

Like its name suggests, 'The Curved Line' plays out in a tenderly considered arc - an album in which sun-swollen chords build up into sparring synths and bottom out into quietly frantic minimalism. Twinkling sound experiments follow confident club fare. The tracks range longer and wider than ever, advancing and building up loops to great heights before breaking them down again. On two of the album's cuts live collaborator Chris Walmsley makes a return appearance on the drum kit, recorded by Stereolab's Andy Ramsay at his Press Play Studios.

As ever, Kelpe presides over a delicate union of the electronic and the organic throughout. 'Chirpsichord' is a neat embodiment of the album's openers - a loping slice of soft bubbling arpeggios and shifting loops. 'Calumet' runs harder with the same themes - driving loops into a club headspace clapped with big drums and droning synths. The record pauses for breath here and there, shoehorning skittish sound experiments like 'Red Caps of Waves' and the delicately exotic 'Morning Two'. After tosses and surprise turns, the album finishes dramatically on 'Incantation' - a thumping beat workout followed by a deep and whirring coda that seems only achievable if you've been noodling with sound hardware for over a decade.

Ultimately, 'The Curved Line' is Kelpe's most urgent yet - a mature soundworld full of glowing club experiments, bounding chords and mellow interludes. There's more analogue synths, skittish surprises and white noise - and the signature warmth still remains in spades. All said and done, it's definitive Kelpe.

Death Waltz Recording Company is proud to extend an invitation to the bloodiest family reunion you'll ever attend with the fierce score to the terrifying horror hit YOU'RE NEXT. Composed as a group effort by Kyle McKinnon, Jasper Justice Lee, Mads Heldtberg, and director Adam Wingard, YOU'RE NEXT is a home invasion story with a twist. The music is intense, and we're not just talking the Dwight Tilley Band's seventies classic 'Looking For The Magic'. The score gets under your skin fast, with ambient eerie textures causing maximum discomfort with minimum effort.

When things really begin to ramp up, you'll start looking for a new set of underwear. Strings saw and chug along like weapons being sharpened, while it builds to some absolutely evil malevolence, punctuated by some seriously scary stingers. And out of nowhere it comes - for YOU. Run motherfucker, just try and escape it. Like a demented wall of sound it chases you, omnipresent, oppressive. Those synths are a big red flag for one thing: inevitability. It's inevitable that this music will hook you in, it's inevitable that you won't escape. It's inevitable that YOU'RE NEXT.

Chicago Footwork legend DJ Rashad rounds off an impressive year on Hyperdub with his first album for the label, building on two EPs which have shown the extent to which his and his numerous Teklife collaborators' sound have evolved in 2013. Named after the recreational cocktail of codeine and sprite, 'Double Cup' sees trad 808 footwork workouts thrown into collision with more recent mutations of the sound, presenting Rashad's most comprehensive showcase of the diversity and strength of the Chicago scene in 2013. The album drags hip hop, R&B, acid, house, techno and jungle into its footwork turbine, spitting them all out in recombinant fragments glued together with purring 808 sub triplets and jerky polyrhythms. The album warms up with a distinctly low slung, g-funk flavour, typical of Rashad & Spinn's collaborations with San Francisco-based Taso. Hiccuping divas grace the rhythms on 'Show U How' and 'Only One' and 'Everyday Of My Life' (with Phil), with the crew providing their raps on 'Pass That Shit', 'She A Go' and 'Kush, Drank, Barz'. The previously released 'I Don't Give A Fuck' marks the dark pivot point of the album, with the pace picking up in the second half with more driving 4/4 flavours such as the title track 'Double Cup', the thunderously jacking 'Acid Bit' with Addison Groove and Chicago house flavours of 'Reggie' and 'Leavin'(with Manny). The trip climaxes with the jagged breakbeat science of 'Let U No' and 'I'm Too Hi' (with Earl). 'Double Cup' is another indication that not only is this music still some of the most exciting, forward thinking music for the dancefloor that's around right now, but that footwork can eat anything.

Using audio sourced directly from the 1987 arcade machine sound board, we are proud to present this vinyl pressing of SEGA and Yu Suzuki's classic driving game, 'Super Hang-On'. Featuring music by Koichi Namiki, Katsuhiro Hayashi and Shigeru Ohwada, 'Super Hang-On' was one of the defining arcade games of the 1980s and had a soundtrack to match. With audio carefully extracted, restored and remastered specifically for vinyl, this classic soundtrack is sounding better than ever.
Housed in a meticulously designed custom die-cut sleeve, on 400gsm matt finish cardstock, with 300gsm printed inner sleeve and a traditional OBI strip. 180g vinyl cut at 45rpm for maximum driving power!

The new album for well respected producer, artist, dj & remixer released on his own label. One of his remixes ("Soon" My Bloody Valentine) was voted by the NME as best remix ever in music history! Other collaborations include Björk, New Order, Primal Scream, Grinderman and a lot more projects.

"IN BLOOD" is the stunning 4th album from UK based multi instrumentalist, Sunset Graves. Following up 2015's acclaimed opus 'Love Pours Into Death', this brand new album goes deeper and darker with sonics for casual beat heads and intertwining textures to reward the deepest of repeat listens. This is Sunset Graves in widescreen, journeying through genres and landscapes, incorporating ambient, drum n' bass, glitchy rhythms, bass music, field recordings, sound design, tech house, chamber orchestra and even post rock.

3rd & Debut Records releases eclectic electronic music by Sunset Graves, the sample based Lo Grounds (as featured on Joris Voorns Fabric 83) and the more experimental soundscapes of tpique. IN BLOOD is our first full length vinyl release, presented on deep black virgin wax, black inner sleeve and a full colour insert.
Supported by Earmilk, Textura and The Formant.

'Mahler Remixed' was recorded live at Radiokulturhaus, Vienna in May 2011. This recording is mostly based on samples taken from Gustav Mahler's symphonies. The performance also includes an early version of 'liminality' from the 'becs' album, released in 2014 on Editions Mego. 'Mahler Remixed' was a commissioned work performed together with the visual artist Lillevan. The piece was only performed live three times, at Vienna Radiokulturhaus, Carnegie Hall, New York City and at The Istanbul Borusan Art Centre.

After the release of his wondrous 5 track EP, 'Moonshine', Swedish producer, songwriter and avant-garde extraordinaire Jay-Jay Johanson returns with his 10th studio album 'Opium', out June _ on Kwaidan Records. With masterful musicianship and soulful, melancholic vocals, Johanson takes us down a dreamlike road, telling 10 stories through 10 songs, inviting us into his dark and all-encompassing world.
01. Drowsy / Too Young To Say Night
02. Moonshine
03. Be Yourself
04. I Love Him So
05. NDE
06. I Don't Know Much About Loving
07. Scarecrow
08. I Can Count On You
09. Alone Too Long
10. Harakiri
11. Celebrate The Wonders

* Remixes by Prins Thomas, Idjut Boys and Johnson Somerset
* Bespoke rigid card outer sleeve
* Printed inner sleeve
* 180-gram heavyweight vinyl
* Limited edition of 500 copies
Enlisting an all-star cast from Todd Terje to Nile Rodgers, Bryan Ferry returned in 2014 with Avonmore, his eleventh post-Roxy Music album. As we've come to expect from Ferry, there were impeccable covers to absorb but refreshingly, the lush collection was dominated by dark and romantic originals.
Now the cover master is having his own material reworked for a new EP on The Vinyl Factory. Having remixed 'Don't Stop The Dance' last time round, Idjut Boys breath new life into 'Avonmore' with both a pulsating, reverb-drenched journey and a super heavy dub take.
Also an experienced Ferry remixer, Prins Thomas cues up a slow-releasing, italo burner of epic proportions that will leave any dance floor gobsmacked.
And to round things off, Johnson Somerset - Avonmore producer and Ferry collaborator for 20+ years - steps up to deliver his own personal 11 minute interpretation of the material.
Mastered on the EMI 1400 and pressed to 180g heavyweight vinyl, Avonmore Remixed features both a bespoke screen printed thick card outer sleeve and a bespoke inner sleeve.

Smart bomb alert! Senegalese Mbalax derivatives in approved Dub mode.

Third release on Working Nights. Six tracks of hazy downtempo machine music by Best Available Technology. Limited to 50 copies only.

All tracks produced by DJ Swerve Veteran Grime MC, D Double E releases His first self released vinyl, with reissue of his classic 'Streetfighter' riddim, 5 years after its original release. This is really for the true Grime heads, the iconic artwork by David Kelly who has worked with the likes of Wiley, Dizzee Rascal and more recently, Butterz Records is one that resonates. The release features the well known instrumental that has never before been released, as well as the brand new revamped for 2015 VIP. The latter is guaranteed to return Streetfighter to dancefloors everywhere as a killer track for the close of the year. This release runs in tandem with his new single 'Like This', and the launch of D Double E's clothing line 'Bluku Wear'.

Robin Storey otherwise known as Rapoon, and ex member and co-founder of legendary northern group Zoviet France, comes back in the frozen lands of Glacial Movements after his vision of an Europe covered by ice in "Time Frost" (2007). The English artist this time faces a theme recently discovered, and that could dramatically change the destiny of our planet. Evoking visions of mad scientists, French researchers are set to revive a mega-virus dormant for 30,000 years that they discovered in the permafrost of the Russian Arctic. The researchers, from the French National Center for Scientific Research, say they will take precautions to revive the specimen under safe laboratory conditions. They published a paper detailing their research in the journal the Proceedings of the National Academy of Sciences . The group of researchers is headed by Jean-Michel Claverie, who runs a laboratory at the French center. The French scientists, who awakened another Siberian virus, known as Pithovirus sibericum, in a petri dish in the lab in 2013, warn that climate change may awaken dangerous viruses in areas of the far north where soil or permafrost is melting and believe it is better to 'know the enemy'. They found it near the same area as the latest discovery, which they named Mollivirus sibericum .This is the fourth prehistoric virus found since 2003.

Part 2 of the Twin Paradox series.

Special Occasion are David C. Gray and Enchanting. Together they make music for the early lonely mornings between the sheets. On the b-side you find the tear drenched versions of MaxxxBass of KWC 92.

"Following on from Haroon Mirza's locked grooves, Tessela returns to Poly Kicks with a two track single of weighty, rhythmically satisfying techno, in his own trademark style."