Beats News

The third Eye, as per — intrepid, ecstatic, off-grid wandering, one-sided, etched discs resplendent in hand-painted sleeves. Epic, this time... drenched, dazed, debauched... with Sly, Prince and Marvin amongst its guiding stars. Refreshing, very limited. Support from Benji B, Gilles Peterson and NTS.

The new PERIHEL series on Karlrecords kicks off with previously unreleased material by GRM member GUY REIBEL, one of the most enigmatic figures of 20th century's electronic avant-garde. Limited edition 180gr LP (500 items) incl. DL code and liner notes by REINHOLD FRIEDL (ZEITKRATZER).

GUY REIBEL (born 1936) is one of the most enigmatic figures in the post-war electronic music scene. He started out with a double qualification: he first became an engineer and then studied composition with OLIVIER MESSIAEN in Paris, the teacher of KARLHEINZ STOCKHAUSEN, IANNIS XENAKIS, FRANCOIS BAYLE, to name just a few...,

PIERRE SCHAEFFER, the director of the GRM (GROUPE DE RECHERCHES MUSICALES at Radio France), very soon offered him to edit and work out the famous Solfège-3LP-Box that was the practical part of his theoretical manifest "Traite des objets musicaux" and to codirect the class for electroacoustic music at the National Music Conservatory.

During that period REIBEL worked intensively in the studios of the GRM. He did not only compose some milestones of electronic music, he also developed a very music-based theory of electronic music: he included his ideas of musical gesture and game theory already in the sixties long before anybody else discussed those issues.

Conflicts with other members of the GRM made REIBEL leave the group (though he was for long time considered to be SCHAEFFER's successor as the director of GRM) - instead, REIBEL toured the world as conductor of his newly founded GROUPE VOCALE DE FRANCE (who realized the first complete recordings of LIGETI's choir-work) and also took over a director's position at Radio France. Meanwhile his electronic music almost disappeared (there were only two or three LPs available on the early GRM series, later just one CD) and in some ways he became the Trotzki of the GRM who was removed from the acoustic photos of the group.

"Douze Inventions ..., " has been digitised at the GRM studios in december 2014 and is now finally being released for the very first time - a milestone in electronic music and a perfect example for REIBEL's musical austerity: very defined and limited musical material results in concentrated and dense forms. The unusually vital character of the music is also due to his use of hybrid sound production: he very often combined amplitude envelopes of acoustic sounds and noises (especially and very often of polysteron) on synthetic electronic sounds. A few of the pieces are even played at least partly live: TM+, the legendary first live-electronic French group, was founded in 1977 by three of REIBEL's students: DENIS DEFOUR, LAURENT CUNIOT and YANN GESLIN. They were almost the first purely electronic group that also toured Europe extensively with their analogue synthesizers.

This album documents how GUY REIBEL succeeded to compose a music that combines the density and purity of electronic music with an unbelievable sound sensuousness. A real listening experience, here released for the very first time as LP and DL!

Invisible Inc's second release comes courtesy of synthesizer krautrock maestros Higamos Hogamos.This EP's influences are clear: early John Carpenter in his darkest, seediest hour, Amon Duul II in heavy pagan-trance mode, the psychedelic sounds of garage rock all topped off with a heavy dose of jacking synthesizer funk.Higamos Hogamos is the brainchild of Steve Webster who, assisted by a revolving core of similarly minded musicians, released an LP and a flurry of 12's on J. Saul Kane's now defunct DC Recordings. These were followed up by a succession of outstanding but highly limited and obscure CDRs both under the Higamos Hogamos banner and then later by offshoot project Spacerocks (who featured on the first Invisible Inc EP). Limited to only 300 vinyl copies, this EP hopes to re-address the balance between obscurity and underground cool and get some of this great music out of the ether on on to your decks! Here's what's they say:

Red Disco. Songs for russian Thanatos.
A debut album by one of the most promising
post-soviet bands of the last decade from Voronezh.
Special vinyl edition limited to 320 copies.

New York City's experimental duo TALIBAM! team up with fluxus artist / electronic avant-gardist YASUNAO TONE and trombonist SAM KULIK for a confrontational sonic attack, fired by an array of analog synths and other electronic devices.

About the album:

"Bringing together the most calamitous materials from their home planets of Noise, glitch, and free improvisation, TONE and TALIBAM! are at once the likeliest and unlikeliest of conspirators. Despite making his home in New York since 1971, TONE's foundational electronic work harkens back to his early days in revolutionary Japanese avant-garde collectives Group ONGAKU and HI RED CENTER, and resonates with his groundbreaking deconstructions of digital CD sound in the 1980s. Meanwhile in the post-art worlds of millennial Brooklyn, TALIBAM! have cranked out their own absurd, profane and unclassifiable improvisational style, bringing their provocations around the world, and proficiently mediating jazz, rock, and hip-hop along the way, trombonist SAM KULIK brings an acoustic element to the mix that invokes the live sonic mixes of MUSICA ELETTRONICA VIVA. In their collaboration "Double Automatism", they forge a confrontational new alliance in the transnational history of experimental sound, with the noisiest consequences imaginable."

(David Novak, author of "Japanoise: Music at the Edge of Circulation")

The idea for "Double Automatism" was born in 2012 when TALIBAM! and SAM KULIK were invited to interpret YASUNAO TONE's graphic scores and game pieces as part of the Japan 1955-70 avantgarde exhibition at the Museum Of Modern Art in NYC where they met the fluxus / electronic artist and immediately developed a mutual affinity for each other. Six months later the trio invited TONE (born 1935) for a recording session - KULIK on trombone, MATT MOTTEL on hisRoland Alpha Juno 1 analogue synth, KEVIN SHEA (also drummer in MOSTLY OTHER PEOPLE DO THE KILLING) on electronic MIDI mallet percussion and TONE using his self-developed MP3 Deviations on his notebook. The 2 epic pieces on "Double Automatism" not only continue TALIBAM!'s enduring explorations of new musical territory beyond genre-limitations, the album is also a forceful testimony of TONE's unique artistry that was documented by recent collaborations with RUSSELL HASWELL or FLORIAN HECKER (all on EDITIONS MEGO) and solo works on TZADIK or ASPHODEL.

The third incarnation of the legendary Krautrock project Kluster/Cluster expands their audience with contemplative, mature and intelligent electronic music.

Datastreams formed via the merging of spin ½ wavefunctions, refracted through myriad unit spheres in momentum space. Alternative visionz divined by Lost Trax.

Minimal Wave is pleased to announce a second release by Belgian favorites Linear Movement.
The collection entitled 'The Linear Way' marks our 59th release on Minimal Wave and continues our celebration of 10 years as a label. The album is a collection of warm melodic electronic pop songs that have for the most part remained unreleased until now. Linear Movement is Belgian mastermind Peter Bonne (A Split-Second, Twilight Ritual, Autumn) joined by Peter Koutstaal, and Lieve Van Steerteghem contributing vocals on the final track. The songs 'The Linear Way' and 'Don't Try To Trick Me' appeared on the exquisite Pulse Music cassette (released by the Micrart Group in 1983) while the rest were never officially released. Our last collection of Linear Movement material entitled On the Screen came out in 2008 and is now long sold out. We're very excited to present this special archival album and finally make these tracks available. The Linear Way LP will be presented in a heavy quality full color printed sleeve, pressed as a limited edition of 999 copies on 180 gram pink vinyl, and released in mid-October. Digital release to follow. Vinyl pre-order now available, here.

Cracks In The Surface is the product of a globetrotter. Straddling the lines between cult techno, krautrock and synth-punk, it expands the confines of contemporary club, electronic, and experimental musics in the process. Luebs strikes a variety of tones, from resounding and bright to somber and resolute. Inspired by the experience of losing connections with friends and loved ones, Cracks contains as many steps as missteps. Hard-hitting, insistent rhythms fracture and refracture, establishing new funks and unconventional shuffles, while bursts of analog noise bring a level of severity to the polish.

Primitives is the spacious and bugged-out sequel to Things You Left Behind. Careful restraint remains, but the sober crispiness of the EP is subsumed on Primitives by loose and moody rhythms, wood and metal, weird noises in wet caves and other goodies for ground-dwellers and mole people alike.

Airbird & Napolian sind das länderübergreifende Produktionsduo Joel Ford (Ford & Lopatin, Ejecta) und Ian Evans (Napolian). Die Jungs trafen sich während der Arbeit an verschiedenen Projekten für das angesehene Software Label, aber beschlossen ihre Kräfte für ein Kollaboalbum zu ihren eigenen Bedingungen zu bündeln. Das Ergebnis ist eine elektrische Verbindung von Cosmic Funk, Hip Hop und amerikanischem House.

Issued now for the first time on vinyl is the complete studio album Demiurge produced by Emptyset, the collaborative art/electronics project founded by James Ginzburg & Paul Purgas. The release demonstrates this moment in the development of the project's production processes, examining non-grid based structures and the integration of sculptural feedback into the analogue signal chain. The collective body of work exhibits the precursor to their current studio work with raster-noton and highlights the project's emergence and transition into a distinct sonic grammar, reflecting upon the reappropriation of analogue media and the innate physical properties of sound. TRACK LIST:

Adrian Sherwood öffnet die On-U Sound Archive und startet mit "Sherwood At The Controls" eine neue Samplerretrospektive auf dem Kultlabel! Die erste Ausgabe mit dem Titel "Sherwood At The Controls Vol.1: 1979-1984" präsentiert 14 von Sherwood produzierte oder remixte Tracks zwischen Post-Punk, Mutant-Disco, Dub, Funk und Electro aus der Hochphase zwischen 1979 bis 1984. Klassiker und Raritäten, CD-Erstveröffentlichungen und zwei komplett unveröffentlichte Tracks (Prince Far I, Voice Of Authority ft. Congo Ashanti Roy). Alle Formate unmixed.

180 gram 2 track vinyl only release. SWAMP029.
Released Sept 2014

Endlich ist "Pause", das zweite Album des Elektronikpioniers Four Tet wieder auf Vinyl erhältlich! Nach dem Erfolg seiner Post-Rock Band Fridge begann Kieran Hebden seine Solokarriere als Four Tet. Nach der Veröffentlichung einiger High-Profile Remixe, unter anderem für Aphex Twin auf einer Warp Compilation, erschien sein Debütalbum "Dialogue" 1999 auf Trevor Jacksons legendärem Output Recordings. Sein bahnbrechendes zweites Album "Pause" erschien erstmals 2001 auf Domino und wurde von der Presse oft als Folktronica-Album beschrieben. Nach einigen Jahren ist das Album jetzt endlich wieder auf Vinyl inklusive Downloadcode erhältlich!

- Recorded live as part of Doug Aitken's 'Station to Station'
- Manufactured on The Vinyl Factory Press
- Screen printed sleeve artwork by Fraser Muggeridge Studio
- Music produced by Justin Stanley
- Limited Edition of 300

Italian record producer, songwriter, performer and DJ, Giorgio Moroder is frequently credited with the pioneer of synth disco and electronic dance music. Over the course of his career, Moroder has worked with some of the most famous names in music including Barbra Streisand, Elton John, Cher, Janet Jackson and David Bowie. Moroder now collaborates with Bruce Sudano for this limited edition Station To Station record. Bruce Sudano has also written songs for ledgendary musicians such as Michael Jackson and Dolly Parton as well as a successful country solo career.

The Vinyl Factory has partnered with American multi-media artist Doug Aitken and the Barbican to bring his acclaimed 'Station to Station: A 30 Day Happening' to the UK for a month-long, building-wide, art intervention, from Saturday 27 June - Sunday 26 July.

For the duration of the event, which features residencies, installations, live performances, workshops, screenings and more, The Vinyl Factory has created The Vinyl Factory Recording Studio to provide a space for musicians and artists to experiment and improvise and has installed The Vinyl Factory Press on-site to manufacture these recordings into vinyl editions.

Giorgio Moroder and Bruce Sudano recorded this edition as part of the original Station to Station, which crossed North America by train from Atlantic to Pacific over 24 days in 2013. Pressed on-site at the Barbican Centre for Station to Station July 2015.

Psychedelisch-hypnotische, sehr rhythmische und stark geräuschhafte Klanglandschaften.

1115 sind ein experimentelles Kraut-Rave-IDM-Duo, bestehend aus Grau und Fehler Kuti. Die beiden
Musiker trafen sich 2015 und begannen miteinander in Fehler Kutis Küche in der Münchener
Westermühlstraße zu jammen. Offensichtlich sprang der kreative Funke gleich über, denn schon in kurzer
Zeit standen die vier Tracks für ihre Debüt-EP "The Drowned World". Während Grau Kuti einen virtuellen 808-
Drumcomputer, Bass und Synthesizer verwendet, bringt sich Fehler Kuti mit Loops und modulierter Stimme
ein. So kamen psychedelisch-hypnotische, sehr rhythmische und stark geräuschhafte Klanglandschaften zu
Stande, die einerseits ravetauglichen Charakter besitzen, andererseits aber auch zum konzentrierten
Zuhören zwingen. Klingt in etwa so, als würden Dieter Moebius und The Residents mit Rosetta Tharpe und
den Spaceman 3 am Deck eines Kreuzfahrtschiffs auf dem Ganges improvisieren, während im Hintergrund
ein kultisches Hindu-Ritual gefeiert wird. Das Album ist im Übrigen nicht nur eine Referenz an J.G. Ballards
surrealen Zukunftsroman "The Drowned World", sondern vor allem ein Vorgeschmack auf einen richtigen
Langspieler, der für 2017 angekündigt ist und unter Mithilfe von Cico Beck und Markus Acher produziert
werden soll.

Oof records is the home of DJ Oof & music agency Ping pong from Paris representing Ninja Tune since 1998. They signed Lunivers with the hit single "Happy Route" & remixes of Supermen Lovers. Now Aron Ottignon is opening more the spectrum & soon their biggest project called Dance Conscious.
New Zealand-born, Paris-based pianist Aron Ottignon has been steadily expanding his instrumental craft as a jazz pianist - both on
his own and in collaboration with artists such as Stromae and Woodkid. For his latest release, Ottignon sought out the production talents of fellow-antipodean Rodi Kirk, and enlisted UK steel pan and percussion virtuoso Samuel Dubois. The resulting 'Starfish EP is a kaleidoscopic ride through electronically-augmented, percussion-heavy 21st century jazz that also takes musical cues from a variety of non-Western music styles. Preparing to perform the EP in a live context, the challenge for the three musicians lay in recreating the intricacy and sonic detail of the studio recordings while leaving enough room for the energy and improvisation of a great performance. For his part, Rodi Kirk arrived at a solution involving Ableton Push, a Tempest drum machine, a mixing desk, and a custom Max for Live device. Thus, with the electronic elements on equal footing with the piano and percussion, the trio now had ample room to maneuver within Ottignon's dynamic compositions.
Ready to test themselves in front of an audience, for their debut performance Ottignon, Kirk and Dubois set up their instruments at
the historic Funkhaus Berlin for an intimate live recording session, and Ableton's camera crew was on hand to document the whole
performance. Already support by : James Holden, Recloose, Mawimbi, Paris dj's, Doc Daneeka, Ashley Beedle...

Unklarheiten und Opferbereitschaft: Auch eine lange Reise beginnt mit einem ersten Schritt.

Seit Benny Boeldt 2007 nach Baltimore umsiedelte, hat er unter dem Alias Adventure drei Alben bei Carpark
veröffentlicht. Mit dem Vinylalbum "8 Of Cups" schlägt er ein neues Kapitel in seinem künstlerischen Schaffen
auf. Nicht allein deshalb, weil es die erste Veröffentlichung unter eigenem Namen ist. Wer sich beim Tarot
auskennt, versteht auch den direkten Zusammenhang zwischen dem Albumtitel, der Spielkarte "Acht der
Kelche" und damit der Lebenssituation, in der sich Boeldt bei der Albumproduktion befand. Die "Acht der
Kelche" steht für Unklarheiten und Opferbereitschaft: Auch wenn man sich noch nicht darüber im Klaren ist,
wohin der Weg führen wird, lohnt es sich, diesen zu gehen, denn am Ende des Tunnels kommt das Licht ...
Für den Hörer bedeutet das, mit relativ inkohärenten Sounds konfrontiert zu werden. Die sind mal
wunderschön klar, dann hyperaktiv, und zuletzt total chaotisch - hier wird so ziemlich jede Stimmung
abgedeckt, die man sich vorstellen kann. Ihren Ursprung haben seine Sounds in alten VHS-Kassetten mit
Anime-, Horror-, Sci-Fi- und Dokumentarfilmen, die Boeldt exzessiv sampelte und digitalisierte. Am Ende
standen ihm Hunderte Samples zur Verfügung, die er zu letztlich acht Stücken arrangierte.

'Uplifting, spiritual, science-fiction music from E.R. Addis Ababa's Endeguena Mulu has worked on elements of this EP for roughly a decade. Drawing inspiration from the sun, Ethiopian war hymns, and his own dreams for this release, Mulu returns to 1432 R in fine form, pushing Ethiopian electronic music further into uncharted territory. Hints of jungle, hip hop, house and folk roots, working in harmony.'

Luke Calzonetti, following up on the Zeckenentferner tape from Opal Tapes: eleven tracks ranging from proper songs to brutal techno, romantic melodic stuff to dystopian minimal. A unique feel for texture and storytelling holds it all together, infused with a melancholic, fragile wanderlust.

Vorab zum Album kommt die Single "Put Your Mask On" als 7" Vinyl und Digital. Dort wird noch tiefer in Akeres Zwischenwelt vorgedrungen und es stellt sich heraus, dass Akere dort nicht allein sind. Neben Sarah Sulais abstrakten Strophen, greift auf dem Bonustrack "Deep Waters" die Münchner Sängerin Louisa nach dem Mikrofon und bereichert die entstehenden Bildern mit ihrem ganz eigenen Stil. Zu beiden Songs sind auf der Single auch die Instrumentals enthalten, denn auch ohne Text kann man in diese musikalischen Gewässer tief eintauchen.

Giuseppe Ielasi is an electro-acoustic musician based in Milan. He runs the micro label Senufo Editions. Originally released in 2013, Error Broadcast re-issued 'Stunt (Appendix)' just recently (ebc028). Here Giuseppe Ielasi delivers a highly unique take on beat music.

After a hiatus of three years Inventing Masks is a new moniker the producer uses to publish his self-titled debut LP. 'Inventing Masks' comprises six concentric but slightly out-of-balance sound sculptures, equally inspired from generative composition, ambient music, and hip hop.

The dubwise duo moving into more intuitive terrain. Part 1 beats its wings and scurries about in the undergrowth of a chattering Jungle; 2 moves into the light with kosmische intrepidity.

When Matt Karmil released Reverse Peephole in 2013 it was clear we had a startling and creative new talent in our midst. Fast forward a few years and Karmil has released on the best taste making labels in the game, with 12''s notched up for Beats in Space, Studio Barnhus and of course Idle Hands - his debut for the Bristol label, Play It / Do It / Say It, having appeared in the summer of 2015, providing leading DJs with head turning staples for their sets, blazing its three tracks across many a dancefloor. As Idle Hands enters 2016, what better way to start than with a new LP from Karmil Originally the tracks on this album were sent as a bundle to label boss Chris Farrell, who was looking to pick a track for a single release. Listening to the music as a whole, it became clear to the Idle Hands man that it needed to be released as such. This is the result: 13 tracks presented just as they were originally sent over in a zip. This is IDLE033: The sound of an accomplished dancefloor producer stretching out. These aren't straight dance tracks, neither is this a ponderous ambient LP. This is vivid, vital electronic music for modern times. Tracks to cut through the monotony of depressingly average house and techno releases. The music shimmers with warmth and humanity, a testament to Karmil's personality as well as his skill as a producer. One can sense in the tracks that this a musician who has travelled and absorbed much along the way: Long drawn out winter nights in Sweden with the Studio Barnhus crew. Years spent in Cologne with its distinguished electronic sound, a city which has given so much to the world with Kompakt and more. Last but not least you can sense Karmil's upbringing here in the UK, the roughness and rudeness all added to the mix. Idle Hands has never been a label to follow trends or to take the easy path. It has strived to keep people guessingand to remain in awe and wonder at new music being produced. InMatt Karmil it has found a producer whoembodies this notion.

Beginning in 1974, based in New Zealand, the sound-performance group From Scratch used an evolving array of percussion instruments to create a distinctive rhythmic music, texturally rich and tonally sumptuous, making use of found and repurposed objects as well as custom-made percussion instruments.
And while the music has a sophisticated, fluid and intelligent polyrhythmic drive, pitched percussion features prominently, using microtunings and just intonation in tightly structured pieces which evolve and mutate, making use of intricate interlocking of melodic and rhythmic elements. Given their Pacific identity, one can find similarities with a number of Asian Pacific musics, their music will appeal to open-eared listeners interested in such musics, and it will also intrigue admirers of the early
work of Steve Reich and Terry Riley. Formed by Phil Dadson on his return to New Zealand following his late-60s involvement in the U.K.
with Cornelius Cardew's Scratch Orchestra, Auckland's From Scratch embraced an egalitarian ethic, focusing on co-operation, integration,
and the union of opposites. These principles are clearly heard in the music here, with all the players interlocking, with the music exploring and exploding the polarities of melody/rhythm, local/global, group/individual, minimal/maximal. These four tracks, ranging from 1974 to 1982 are propulsive and yet serene, percussive and yet
sweetly tonal, and toe-tappingly alert, an immersive and distinctive soundworld. All tracks here are newly remastered from the original
master tapes, "Passage" was their first recording and is previously unissued.

Debut of the Hit+Run Presents "Road Kill" compilation series. Volume 1 includes 14 exclusive & vinyl unreleased! tracks by the Los Angeles underground and beyond, like The Gaslamp Killer, Mono/Poly , Jeremiah Jae, Mndsgn, Computer Jay, Ras G, Daedelus, J.Rocc,Kutmah, Zackey Force Funk, and more... Tip!!

SBTRKT announces details of his much-anticipated second album. The London-based producer, songwriter and multi-instrumentalist releases 'Wonder Where We Land' on Young Turks, and it's a gleefully collaborative affair, featuring lots and lots of Sampha, as ever, along with old friend Jessie Ware. There's also a track with Ezra Koenig of Vampire Weekend and A$AP Ferg appears on the final track !

- 'Wonder Where We Land' follows his critically acclaimed eponymous debut album and a recent interim release of six instrumentals called 'Transitions', which joined the creative dots between the first and second albums.

- Since the release of his debut album in 2011, SBTRKT has cemented his role as one of the most acclaimed electronic artists and performers around. What began as praise in his hometown of London has now reached to every corner of the globe.

- SBTRKT's captivating and ever changing live show will be touring the world for the rest of the year.

Incredible, idiosyncratic and obscure early 80s French futurist DIY project led by Jean-Luc Aime.
This feature-length album of elusive recordings marks the bone fide axis point where Zeuhl-Skool meets synth pop, dark ambient and early electro culled from rare vinyl and disparate cassette co-op releases for this first ever LP release.

A lost art-ifact from a micro genre where ZED, Eskaton and Heldon share outernational tape space with Vox Populi! The Normal, Colin Potter and Luc Marianni this record occupies a unique place on the shelves of fans of early DIY electro and post punk while ticking the boxes of 80s VHS OST enthusiasts and the growing interest in European cassette zine projects. These melodic macabre tape experiments fuse multi-track cassette experiments with home-made special effects at the hand of an accomplished multi-instrumentalist working on the outer reaches of disenfranchised progressive-pop and reluctant techno defining then deconstructing genres that have yet to exist. Fuelled by futurist gothic imagery and operating on a parallel plain to his European and American contemporaries there are few artists like Stabat Stable and virtually none more enigmatic. This benchmark record is the first signpost to a darker part of your musical want-list as the invisible glue for fans of the aforementioned anti-genres. File under Not Yet'.

A year in the making, Lionheart is the fearless new record from Crazylegs' smiling assassin Ziro - the first artist to release on our label way back in 2012, a meticulous producer revered among his peers, now confidently pushing forward with a sound like nobody else. Pooling an array of influences ranging from early days selling drum & bass in a record store in his hometown, formative production forays into dubstep and finding his groove in techno, a growing interest in rap and grime have pulled his beatmaking into an alien place in the last couple of years. Coupled with a longstanding knack for intense atmospherics and ice-cold synth lines, you end up with perhaps the most striking record we've ever put out. This is where Ziro embodies the essence of Crazylegs - a drive to experiment and an ambition to deliver the unexpected. Title track Lionheart sets out the mission statement in no uncertain terms - a breathless six and a half minutes of thunderous, fractured drums and shimmering trance riffs. Strafe brings Belfast madman Bloom into the fray, trademark hydraulic percussion creating a wonderful hybrid. London City Warlord Riko Dan spits a bag of violence on Dun Talk, a move into more straightforward rap beat territory. Distance provides a moment of blissful calm before Rapture closes the record with its grimiest workout. Lionheart is the sound of an incredibly talented producer marking out his territory - cinematic but still primed to pummel dancefloors. It arrives October 30th on digital and a 12' picture sleeve vinyl edition shortly after.

KETEV is the realm in which Berlin based sound artist Yair Elazar Glotman employs his unique ambient technoid soundscapes to explore the balance between darkness and light, fragility and strength, and tension and release. 'Traces of Weakness' follows up the solo contrabass LP 'Études' for Subtext records, and continues to expand on the themes explored on previous KETEV albums for Where To Now and Opal Tapes. 'Traces of Weakness' was recorded at EMS Stockholm using their Buchla Modular Synth, and processed with reel-to-reel tape manipulations including personal archived field recordings. The sleeve photography comes courtesy of Yair's father, the artist Yehoshua Shuka Glotman.

The album is divided into four long expressions, moving through a cycle of melancholy, destruction, urgency, fragility, and total calm. 'Traces of Weakness' opens with 'Probabilities of a stranger's eyes', hypnotising the listener into a state of mantra, where cyclical bass plumes slowly strut alongside what sounds like processed healing bowls and subtle modular tones. Closing on a segment of total reflective calm this opening gambit truly does set itself up as preparation for the descent.

The brooding ambience continues with the title track 'Traces of Weakness', opening with a Stars of The Lid esque panorama of ambience and beauty, throughout the piece the vibe becomes increasingly ominous and foreboding, feelings of fragility and space slowly evolve into a filmic atmosphere of oddly comforting tension and uncertainty - it is this changing of emotional states within sound where KETEV totally comes into his own - sharing similar motifs as artists such as Tim Hecker and Tomas Koner, but continuously injecting an array of very human and emotional responses into his scapes of evolving ambience.

'Linger' finds KETEV in full on rhythmic dread mode, where 12 minutes of churning techno mechanism forces the build of tonal dread into a new zone. 'Linger' showcases what KETEV does best - taking the stripped back, minimal pulse and building layer upon layer of sound and tension to create an ecstatic, all encompassing melee of rapture and release.

We end with 'Levels of Chaos' to complete the cycle, a true comedown from the heightened spirit of 'Linger'. Themes explored in the opening track return, but with new perspective and confidence, the scene has a newness to it but is totally destroyed, there is melodic hope that pierces the ambience, bringing to mind the darker moments of John Hassell's otherworldly compositions. KETEV often leaves the listener with a brutal and cold parting stare, and 'Traces of Weakness' is no different, another enthralling and escapist experience and essential addition to the Where To Now catalogue.

From Leaving Records, the debut album from drummer Deantoni Parks - John Cale, Sade, The Mars Volta, Flying Lotus collaborator.

The relationship between music and technology is always evolving ... but true music can not exist without a soul. Some extraordinary musicians augment their natural talents with technology, adopting its benefits to fuel their own singular vision, and that is the basis of Deantoni Parks' debut album Technoself.

Parks is one of the finest drummers working today, displaying a sleek and intuitive balance between raw rhythmic physicality and machine-like precision. He can play on one hand what many great drummers could not achieve with two - which he does frequently. His skills have seen him perform with artists such as John Cale, Sade, The Mars Volta, Flying Lotus and his own boundary-pushing group KUDU, among others. Notable collaborations aside, Parks is an artist in his own right, constantly in motion and expanding towards something new.

On Technoself, you hear Parks totally in control. Three of the tracks were recorded live in a session at Dub Lab, the others in a studio. In his own words, "The sound result of Technoself is a digestion of sounds being refined, filtered, and re-arranged in the time period of the average thought." There are no overdubs or loops on this record. The sound is that of "segmented, split-second curated soundscapes atop a highway of refined, war-drum rhythms." The album plays out like a percussive crash course winding through Parks' diverse influences and moods, where the only constant is Deantoni's unmistakable sense of movement. In this case, the most important piece of technology turns out to be the human body.

Chilli Space 11 is a compilation of the freshest sub-alpine electronic music from Slovenia.

Who plays guitar during a drummachine jam What for Gay funk straight from Warsaw, deviant Jandek house. First Heroiny's LP (Piotr Kurek's fresh project) on a new label run by Lutto Lento and Filip Lech. Well, dunno.

Hejira follow up their critically acclaimed 2013 debut album 'Prayer Before Birth' with the release of a new EP entitled 'NameSurname'.

The four song 12" vinyl and digital download will be released on Eglo Records on April 6th and to celebrate Hejira will be playing a special show at the legendary 100Club on April 3rd with Joanne Robertson and Eglo co-founder Floating Points on the decks. Tickets are now available and include a free digital download of the EP.

Okzharp (pronounced 'oh-kay-zarp') is a project that pivots around South African born London producer Gervase Gordon, who still maintains strong links to Capetown and Johannesburg and the creative work coming from there. 'Dumela 113' - translated as 'Hello 113' - is a suite of house mutations that feature the vocals of Manthe Ribane, an artist who runs the creative studio in Capetown called Studio113 with her two siblings, while her own work spans dance (she toured as a dancer with 'Die Antwoord'), modelling, styling, film and photography. 'Dumela 113' started to take form when the South African director and photographer Chris Saunders introduced Manthe to Gervase. Chris and Gervase had started making a film together, called 'Ghost Diamond', which Manthe styled, choreographed, and starred, in. Consequently two tracks on this EP, 'Fede' and 'Sizzr', are also from the film's soundtrack. 'Dear Ribane's lyrics are sung in the language of Tshwana and are about being a performer and working on shoots, and the complexities of understanding different kinds of beauty and being a vessel for other people's ideas of beauty, mocking a row of models with the line ''Ostrich 1, Ostrich 2, Ostrich 3, 4, 5, 6, 7', The lyrics open out slowly over a sharp kick drum as a minimal keyboard creeps around Manthe's poised vocals. 'Sizzr', delivered in English, is a positive mission statement about living in the moment, standing up for what you believe and not letting bad vibes get to you, sung with vocoder over bittersweet but positive keys, flipping from beatless to heads-down house. Inspired by a childhood game, 'Fede's lyrics play with the question 'How are you' and all the different ways this can be interpreted, Manthe's voice glistening with android fx over driving toms and deep bass. The EP finishes with 'Glonet', an instrumental of dubstep-indebted house with a wistful oriental melody that shifts gears between half and double speed.

Just recently the The 23s, a mysterious one-man-show from the German Nord-Rhine-Westphalia area, launched the second chapter of his career and released 'Flamingo' - another longplayer full of romantic smooth operators. It can be heard as a love-letter to the movie scores of the French 70ees cinema or the impressionistic sound arrangements in early Peter Greenaway movies. You find the head of a double bass in it, discreet piano melodies thrill your senses and gentle horns and beats recollect the warm jazz influenced soul of oldschool hip-hop. Now four globally famed producers laid hand on his sublime get-down-deep instrumental journey and remixed two of his arrangements.
Canadian disco-techno-blender The Mole transforms 'Any Second' into a slow banging sort of trip hop experience, in which you can get lost in a deep echoed background atmosphere.
The now defunct German experimental electronic trio to rococo rot, long-term friends of nebulous The 23s, reworked 'The scene where the car was blown away' and twisted it into a futuristic Balearic trip where Guitars slide cool and rhythms roll unfolded.
Also Gilles Alken aka Edward, man behind the acclaimed White label from Berlin and renowned Giegling artist, fell in love with 'The scene where the car was blown away'. His version is a rattling one with a prominent magic double bass and an average psychedelic atmosphere that absorbs listeners profoundly.
The fourth remixer comes from Cologne. His name is Christian S, he loves twisted grooves and he is deeply in touch with the Cómeme tribe. His choice was also 'Any Second'. In comparison to the one by The Mole his version is racy. Hi-Hats and percussive rhythms provoke movements instantly, while bewitching chords pitch the emotions high. Four remixes by four musically different grounded producers, that all have one in common: the playfulness of the pattern-based The 23s hallucinatory sound world.