Beats News

Great dance music albums - albums that sound as good on headphones and home speakers as they do on club sound-systems - aren't easily made. In a form whose primary aims have been to move dance-floors and to move on, full lengths that thrill the head, heart and the feet with equal power are few and far between. We believe Romare has made one. With the gripping shock of the new that announces the best records of the genre - from Entroducing through Blue Lines to Ambient Classics - Romare has both a singular style, and great deal to say with it. 'Projections" comes off like Voodoo Ray reworked by DJ Shadow.

The songs on "Projections" are an homage to elements of American/African culture in the USA - which Romare studied academically. Taking his name from Romare Bearden, the well-known cut'n'paste artist / collagist, and applying similar techniques to music. Romare re-imagines the profound cultural impact of the collage technique for a new generation of music listeners. With his signing to Ninja Tune, coming hot on the heels of his excellent 12's on underground institution Black Acre, and compilation inclusions by Tiga, Bonobo and Brownswood, the stage is set for his debut album

Arcanoid and Caustica Waveform's Diffuse Arc join forces and deliver three excursions of spacey analog electro on the first Odio 12", BIG!

Third release from Diffuse Arc on Caustica Waveform, excellent synth-heavy electro, real singular sound from the Madrid-based label and superb artwork as always!

Severed Heads are 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. After many line-up changes featuring Garry Bradbury and psychedelic guitarist Simon Knuckey, Severed Heads was the vehicle for composer Tom Ellard.

In 1985 their record label asked them to release a retrospective, so they dragged out bits that we had lying around from 1979 up til 1983. The compilation was titled Clifford Darling Please Don't Live In The Past', spread out into a montage over four sides of vinyl. Bradbury and Ellard would fuss each bit and sling it on their new digital recorder, and since they still have the digital recorder, this reissue is made directly from the bits assembled twenty years ago. This compilation includes live recordings, raw demos, unreleased studio recordings and solo pieces from each member of the band during from the first five years. Their early music was characterized by the use of tape loops, noisy arrangements of synthesizers and other dissonant sound sources in the general category of industrial music. After several releases in that vein, Severed Heads began incorporating various popular music tropes, such as a consistent 4/4 rhythm, strong melodic lines, resolving chord arrangements and the occasional vocal. This move was underscored by the incorporation of mimetic devices, such as drum machines and bass synthesizers. The result was a striking hybrid of the avant-garde industrial and pop.

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 fold-out poster with a color video still photo on one side and liner notes and credits on the other. 30 years later Severed Heads' perverse creativity is still paving the way for powerful imaginative challenging music far and wide.

- Recorded live as part of Doug Aitken's 'Station to Station'
- Manufactured on The Vinyl Factory Press
- Hand-crafted, tip-ex artwork by Åbäke, Emma Berit Smit, Vincent Humeau, Jonas Meier and Tilly Thompson
- Music/Instrumentation:Trevor Jackson
- Vocals:Emma Berit Smit
- Found Sounds:Tom Furse
- Limited Edition of 300

Following the release of Trevor Jackson's album, F O R M A T, Jackson enters the world of The Vinyl Factory recording studio at Station to Station:
300 words written by Åbäke
300 words read by Emma Berit smith
300 handmade sleeves by Åbäke each featuring a separate word from the track
The Vinyl Factory has partnered 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.

Trevor Jackson recorded this release in The Vinyl Factory Recording Studio as part of Station To Station. Pressed on-site at the Barbican Centre for Station to Station July 2015.

Zehn Jahre nach seinem letzten Werk auf Trevor Jacksons Output Recordings meldet sich der französische Electro-Rocker Marc Nguyen Tan a.k.a. Colder auf seinem eigenen Label zurück. Die zwölf neuen Tracks atmen die gleiche reduziert-kühle Grundstimmung aus Post-Punk und Post-Disco wie auch zuvor ein. Als Bonus gibt es eine zusätzliche Matias Aguayo Version. Das Album erscheint physisch nur auf Vinyl, wahlweise auf schwarzem oder blauem. "Suicide-ish vocal meanderings and Krautrock-via-Joy Division hypnosis." - CMJ Magazine

Weitere internationale Pressestimmen:
"a wonderfully intoxicating return." FACT
"Exquisite - Colder sounds like a sparser, funkier Joy Division or a Digital Doors." - NME
"While there's more than a little influence from early New Order here, one can also hear echoes of Suicide, PiL's Metal Box and the motorik reveries of Cluster." - MOJO
"Colder's sound is at the height of chic, the perfect late-night complement to an evening of jealous lovers." - Pitchfork
"It pushes many of the same buttons as DFA/LCD Soundsystem, but with a sensuous Gallic cool missing from the more angular Anglo-Americans." - Q Magazine

Zehn Jahre nach seinem letzten Werk auf Trevor Jacksons Output Recordings meldet sich der französische Electro-Rocker Marc Nguyen Tan a.k.a. Colder auf seinem eigenen Label zurück. Die 12 neuen Tracks atmen die gleiche reduziert-kühle Grundstimmung aus Post-Punk und Post-Disco wie auch zuvor ein. Als Bonus gibt es eine zusätzliche Matias Aguayo Version. Das Album erscheint physisch nur auf Vinyl, wahlweise auf schwarzem oder blauem. "Suicide-ish vocal meanderings and Krautrock-via-Joy Division hypnosis." CMJ Magazine

Alan Palomo, der Mann hinter Neon Indian, schafft auf seinem neuen Werk den perfekten Brückenschlag zwischen dem Sound seiner Anfangstage, als er noch als VEGA mehr tanzorientierte Musik aufgenommen hat, und dem LoFi und der Leichtigkeit heutiger Neon Indian Songs. Entstanden ist "VEGA INTL. Night School" zu großen Teilen auf einem Kreuzfahrtschiff, auf dem Alans Bruder Jorge als Bassist in der Hausband spielte. Zusammen richteten sie sich dort ein kleines Studio in einer der Kabinen ein, während das Schiff auf die Bahamas zu steuerte und die Cocktailgläser geleert wurden. Eine wunderbare Atmosphäre, die deutlich auf dem neuen Werk zu spüren ist. Inklusive der Singles "Annie" und "Slumlord".

Exklusiv für den GTG Pool! Neues Weird World Signing Slime präsentiert seine Debütsingle My Company! Hinter Slime verbirgt sich Will Archer aus dem nordenglischen Newcastle. Archer begann seinen musikalischen Werdegang als Drummer und begeisterte sich dann für Genres wie Dubstep und Gabba, was sein Interesse an elektronischer Produktion weckte. Seine erste Single für WeirdWorld, My Company, ist eine wundervolle, facettenreiche Melange aus synkopischen Trip Hop Beats, sanften Synths und warmen Vocals. Slime's Debütalbum folgt noch in diesem Jahr bei Weird World!

Cellophanierte Whitelabel 12' Vinyl in weißem Kartonsleeve mit Aufschrift und Labeldruck.

Tehbis, a producer from the depths of North London, first gained the public's attention from having his beats played by djs Kutmah (Izwid) and Gilles Peterson (Brownswood). Check!
The eight songs on his debut EP "Tales of Genji" represent a journey of self-expression and adventure. The tracks were produced over the past two years representing an eclectic journey of moods and discovery. Standout tunes 'Windward Stomp' and 'Stay' were created while in the inspirational surroundings of Holy Mount Washington in Northeast Los Angeles, near ground zero of the forever-growing 'LA beat scene'. Featuring the funky likes of Seven Davis Jr. on the track 'Stay', as well as new beatsmiths like Trampoline Tax on "Skittlebullet Holes", you'll notice a true blend of colors that appear before your ears, hinting at a greater understanding of this release. Limited-edition cassette for TEHBIS "Tales Of Genji" (HNR47) containing all of the 8 songs pressed on a black tape shell and housed in a shrink wrapped plastic case (with full color artwork & album credits). Only 150qty made!

Xtreme Now is the most extreme album Prince Rama has ever made. Working with acclaimed dance producer Alex Epton of XXXChange (Gang Gang Dance, Björk, Spank Rock, Panda Bear, The Kills), the new songs take on a more powerful, confident, fierce, infectious, all-encompassing, and accessible dance-club feeling than any other Prince Rama record—a fearless, visionary pop tour de force for the ghost-modern era that celebrates the ephemerality of life, dancing just at the edge of death's gilded smile.

Writing for Xtreme Now began while the Larson sisters were living on a black metal utopian commune on Vrmsi, a remote island off the coast of Estonia during the summer of 2012. There, Taraka had a near death experience inside an ancient Viking ruin which sparked a recurring sense of time-schizophrenia, or the physical sensation of existing in multiple time periods simultaneously. In this case, she experienced a joint-existence in both the medieval ages and the year 2067. In one of her prophetic visions she describes, In the year 2067, I witnessed an aesthetic landscape where art museums are sponsored by energy drink beverages and beauty is determined by speed. I saw a vision of ancient tapestries stretched across half-pipes and people base-jumping off planes with the Mona Lisa smiling up from their parachutes. I saw art merge with extreme sports to form a new aesthetic language of 'Speed Art.' I realized that time travel was possible via the gateway of extreme sports, and I wanted to make music that would provide the score.'

Perceiving a great void in the world of extreme sports for music that could match the metaphysical intensity of these death-defying feats, Prince Rama set forth to make Xtreme Now, the first real foray by any musician to create a new extreme sports genre.' For inspiration, the sisters looked to their own flirtations with death and time-dilation, along with countless hours of obsessively watching extreme sports videos and consuming dangerous quantities of Monster Energy drink.

Limited deluxe pressing on black with neon green starburst.
Xtreme Now is the most extreme album Prince Rama has ever made. Working with acclaimed dance producer Alex Epton of XXXChange (Gang Gang Dance, Björk, Spank Rock, Panda Bear, The Kills), the new songs take on a more powerful, confident, fierce, infectious, all-encompassing, and accessible dance-club feeling than any other Prince Rama record—a fearless, visionary pop tour de force for the ghost-modern era that celebrates the ephemerality of life, dancing just at the edge of death's gilded smile.

Writing for Xtreme Now began while the Larson sisters were living on a black metal utopian commune on Vrmsi, a remote island off the coast of Estonia during the summer of 2012. There, Taraka had a near death experience inside an ancient Viking ruin which sparked a recurring sense of time-schizophrenia, or the physical sensation of existing in multiple time periods simultaneously. In this case, she experienced a joint-existence in both the medieval ages and the year 2067. In one of her prophetic visions she describes, In the year 2067, I witnessed an aesthetic landscape where art museums are sponsored by energy drink beverages and beauty is determined by speed. I saw a vision of ancient tapestries stretched across half-pipes and people base-jumping off planes with the Mona Lisa smiling up from their parachutes. I saw art merge with extreme sports to form a new aesthetic language of 'Speed Art.' I realized that time travel was possible via the gateway of extreme sports, and I wanted to make music that would provide the score.'

Perceiving a great void in the world of extreme sports for music that could match the metaphysical intensity of these death-defying feats, Prince Rama set forth to make Xtreme Now, the first real foray by any musician to create a new extreme sports genre.' For inspiration, the sisters looked to their own flirtations with death and time-dilation, along with countless hours of obsessively watching extreme sports videos and consuming dangerous quantities of Monster Energy drink.

Der Londoner Produzent SOPHIE wird mit seiner eigenwilligen Mixtur aus Trap und House von der Musikpresse als das nächste große Ding gefeiert. SOPHIE arbeitete bereits für LE1F, Madonna und QT und veröffentlicht auf dem Glasgower Trendlabel Numbers, das uns u.a. Rustie brachte. Seine acht hypercoolen Tracks erscheinen auf CD und auf insgesamt 4 Vinyl-12"es, von denen die ersten beiden aus 2013/14 nochmal aufgelegt werden.

TEEN's new album, Love Yes, explores the disharmony and empowerment that both sexuality and spirituality can create within the modern woman's psyche. Universal ideas of loyalty, pleasure, purity, power, aging, and love are confronted with a knowable specificity. There is a quality of wholesomeness, but also an edge—a kind of wise anger and electricity.

After extensive touring following their breakthrough release The Way and Color (2014), the band had to keep traveling to find Love Yes. The group first went to Woodstock in the dead of winter to write new material. Here, keyboardist and singer Lizzie Lieberson created the stunning, autobiographical Please.' But the band, and especially lead singer and multi-instrumentalist Teeny Lieberson, felt a crushing lack of creative energy. Recognizing the need to recharge, they took some time off. Teeny moved to a small lakeside cabin in Morehead, Kentucky. Surrounded by rolling hills, sparked with sudden thunderstorms, and inspired by the musical joy of uninhibited late-night bluegrass jams and barn parties, Teeny immediately began writing again. Here she felt a new freedom in her songwriting, drawing on themes important to her identity as a woman, and exploring love, sexuality, and the tension between desire and the construct of desire that can exist within oneself, in relationship, and within society.

After three weeks in Morehead, Teeny returned to New York to workshop with rest of the band, including drummer Katherine Lieberson and bassist Boshra Al-Saadi. Acknowledging the benefits of being creative in a cocoon like the lakeside Kentucky country, the band decided to record at the Old Confidence Lodge, in secluded Riverport, Nova Scotia. Leaving the noise and relentless energy of the city behind, TEEN retreated into the nurturing stillness of Nova Scotia, the Lieberson sisters' childhood home. Situated on the La Have River, the studio was hidden in a perpetual mist while the band recorded day and night. Fueled by new material, a change of place, and creative collaboration, the lull of the winter lifted and the band came together in a new way. Teaming up once again with producer Daniel Schlett, TEEN wanted to capture the energy of full band recording. Rather than multi-tracking, Schlett worked with the band as they played the songs relentlessly, waiting to achieve the right energy and take as a group.

The result is a beautiful, detailed album about womanhood and the embodiment of the sensual, played by a group fully in step with one another. Love Yes bursts into the static air
with a vibrancy recognized by its confidence and power.

On the album cover, the quartet is bejeweled in crystals and bathed in Venusian red. This red is the colour of vitality and pulsing life — unmistakable traits of Love Yes. It is the iconic red of Dorothy's slippers and Eve's apple — potent with society's tales and notions of innocence lost. In Love Yes, something else more mysterious and tender is gained.

Limited deluxe pressing on 2x transparent red vinyl
TEEN's new album, Love Yes, explores the disharmony and empowerment that both sexuality and spirituality can create within the modern woman's psyche. Universal ideas of loyalty, pleasure, purity, power, aging, and love are confronted with a knowable specificity. There is a quality of wholesomeness, but also an edge—a kind of wise anger and electricity.

After extensive touring following their breakthrough release The Way and Color (2014), the band had to keep traveling to find Love Yes. The group first went to Woodstock in the dead of winter to write new material. Here, keyboardist and singer Lizzie Lieberson created the stunning, autobiographical Please.' But the band, and especially lead singer and multi-instrumentalist Teeny Lieberson, felt a crushing lack of creative energy. Recognizing the need to recharge, they took some time off. Teeny moved to a small lakeside cabin in Morehead, Kentucky. Surrounded by rolling hills, sparked with sudden thunderstorms, and inspired by the musical joy of uninhibited late-night bluegrass jams and barn parties, Teeny immediately began writing again. Here she felt a new freedom in her songwriting, drawing on themes important to her identity as a woman, and exploring love, sexuality, and the tension between desire and the construct of desire that can exist within oneself, in relationship, and within society.

After three weeks in Morehead, Teeny returned to New York to workshop with rest of the band, including drummer Katherine Lieberson and bassist Boshra Al-Saadi. Acknowledging the benefits of being creative in a cocoon like the lakeside Kentucky country, the band decided to record at the Old Confidence Lodge, in secluded Riverport, Nova Scotia. Leaving the noise and relentless energy of the city behind, TEEN retreated into the nurturing stillness of Nova Scotia, the Lieberson sisters' childhood home. Situated on the La Have River, the studio was hidden in a perpetual mist while the band recorded day and night. Fueled by new material, a change of place, and creative collaboration, the lull of the winter lifted and the band came together in a new way. Teaming up once again with producer Daniel Schlett, TEEN wanted to capture the energy of full band recording. Rather than multi-tracking, Schlett worked with the band as they played the songs relentlessly, waiting to achieve the right energy and take as a group.

The result is a beautiful, detailed album about womanhood and the embodiment of the sensual, played by a group fully in step with one another. Love Yes bursts into the static air
with a vibrancy recognized by its confidence and power.

On the album cover, the quartet is bejeweled in crystals and bathed in Venusian red. This red is the colour of vitality and pulsing life — unmistakable traits of Love Yes. It is the iconic red of Dorothy's slippers and Eve's apple — potent with society's tales and notions of innocence lost. In Love Yes, something else more mysterious and tender is gained.

TEEN's new album, Love Yes, explores the disharmony and empowerment that both sexuality and spirituality can create within the modern woman's psyche. Universal ideas of loyalty, pleasure, purity, power, aging, and love are confronted with a knowable specificity. There is a quality of wholesomeness, but also an edge—a kind of wise anger and electricity.

After extensive touring following their breakthrough release The Way and Color (2014), the band had to keep traveling to find Love Yes. The group first went to Woodstock in the dead of winter to write new material. Here, keyboardist and singer Lizzie Lieberson created the stunning, autobiographical Please.' But the band, and especially lead singer and multi-instrumentalist Teeny Lieberson, felt a crushing lack of creative energy. Recognizing the need to recharge, they took some time off. Teeny moved to a small lakeside cabin in Morehead, Kentucky. Surrounded by rolling hills, sparked with sudden thunderstorms, and inspired by the musical joy of uninhibited late-night bluegrass jams and barn parties, Teeny immediately began writing again. Here she felt a new freedom in her songwriting, drawing on themes important to her identity as a woman, and exploring love, sexuality, and the tension between desire and the construct of desire that can exist within oneself, in relationship, and within society.

After three weeks in Morehead, Teeny returned to New York to workshop with rest of the band, including drummer Katherine Lieberson and bassist Boshra Al-Saadi. Acknowledging the benefits of being creative in a cocoon like the lakeside Kentucky country, the band decided to record at the Old Confidence Lodge, in secluded Riverport, Nova Scotia. Leaving the noise and relentless energy of the city behind, TEEN retreated into the nurturing stillness of Nova Scotia, the Lieberson sisters' childhood home. Situated on the La Have River, the studio was hidden in a perpetual mist while the band recorded day and night. Fueled by new material, a change of place, and creative collaboration, the lull of the winter lifted and the band came together in a new way. Teaming up once again with producer Daniel Schlett, TEEN wanted to capture the energy of full band recording. Rather than multi-tracking, Schlett worked with the band as they played the songs relentlessly, waiting to achieve the right energy and take as a group.

The result is a beautiful, detailed album about womanhood and the embodiment of the sensual, played by a group fully in step with one another. Love Yes bursts into the static air
with a vibrancy recognized by its confidence and power.

On the album cover, the quartet is bejeweled in crystals and bathed in Venusian red. This red is the colour of vitality and pulsing life — unmistakable traits of Love Yes. It is the iconic red of Dorothy's slippers and Eve's apple — potent with society's tales and notions of innocence lost. In Love Yes, something else more mysterious and tender is gained.

Copenhagen City Reggae (3:47)
Hit The Streets (3:35)

Collecting Eddie Ruscha's cassette recordings over two compilation albums has been one of the highlights of the
label, so it seemed right to hand over the choice tracks to a set of his contemporaries from the City of Angels.First up is rising star Suzanne Kraft. The alias of Diego Herrara, very much a young man to watch. With releases for Running Back, Young Adults and Noise In My Head, as well as possibly EP of the year already as Dude Energy, while holding down being a member of The Pharoahs (ESP Institute / Not Not Fun) and not forgetting, one half of Blase with Mr Ruscha himself, he's a busy man so getting this remix took some effort! However, it was all worth
it, as Diego takes the crazy afro-stylings of Afrobotics and pulls it towards the danceflor, adding percussion and sirens, forging the originals vibes in to a ethno-beat club jam that is all about that heads down moment. Next up is the quirksum individuality of The Samps. The project of one of LAs fiest, but hidden musicians,
Cole M.G.N. Working with Nite Jewel, Ariel Pink and Puro Instinct is cool enough, but his solo Samps project is another level, with a mind-altering exploration of funk warped electronics. Sure enough then, his take on Shockers is just that, a mash of beats, bass and sample cut ups. This is pyschedelic dance music for the mind.
Flipping things completely is LA's Mr Funk himself, Tom Noble. Taking the laid back grooves of Underdogs, Tom does his trademark good time, party vibes with a killer boogie style remix. Letting the groove do the work, keys and a good deal of wiggle just led it all ride home. Finally then is something Emotional Response is all about, highlighting producers the label is fans of, but letting them explore alternate spheres. While Cameron Stallones' Sun Araw project has become one of the names in
modern psychedelic experimentation, little is known of the alter-ego Aristrocrat P. Child. With just one cassette of warped disco edits to his name, here he closes the EP with exactly that, a re-edit of cut up irreverance, twisted and looped to distraction - an ethereal experimental and modern musical genius...just like Mr
Ruscha.

Whenever Dego releases a 12" change occurs. Music changes. Producers switch gears. Panic sets in. Tidal-wave size ripples echo throughout time forcing shapes to be thrown and bodies to be bounced. Where words alone can not convey emotions, Dego speaks through his music, healing all that are willing to open their ears. Through some bizarre twist of fate Luck Hard work Dego and Blueberry Records have come together on a 12", where we believe such epic words are necessary to guide this space vessel to it's intended home - the heart and mind of the passionate music lover and the desperate soul of the everyday human seeking ascension. Opening with Nuts! the 4th quarter addition to the EP, Dego lines up the dance floor in his sights, takes aim and slays you. The play between rhythm and synth is so cold yet so hot, it's the tiger balm your dance partner has been aching for. Could Murder A Burger has made the rounds in Blueberry HQ for a little while, finally landing on this ep with it's thoughtful piano movements and load bearing bass. Could power a steam engine and serve a cup at the same time. Flip side opens with Celestian Ditton a possible ode to the hifi of yesteryear, slow burning, ever charming and romantic. Warm and embracing, analog and rolling. Closing out the EP is a remix from FaltyDL "The force is strong with this one" a quote from Dego himself. Paying respect to the master, maintaining integrity with added
funk and scatting. Yes, scatting.

Chester Raj Anand, who records as Lord RAJA, may have been in Austin to perform at SXSW, but he wasn't going to leave without bringing home a few things for himself. While I was there,' he explains, I went to that famous synth store, Switched On, and my mind was blown. They had everything—all these modular synths, a mellotron, Elektron synths. Just everything.' As he was surveying the goods, a plan began to form. I asked the person who was working there, 'Would it be OK if I took my laptop and recorded some sounds' And I just started going crazy—plugging everything in, trying out di-erent things, messing with drum machines, and recording all of it using RME Babyface. When I walked out, I felt like I had made o- with the loot.'Those sounds formed the basis for PARA, RAJA's second full-length and the first that fully captures his vision for his music. This is probably my most successful attempt at making a consistent work,' he says. I was really conscious about making a record that wouldn't alienate people.'Which doesn't mean he cut back on experimentation.

If anything, PARA is his most adventurous work to date. Every song makes use of RAJA's Lexicon PCM 90 and an Eventide H3000 that he modified himself to get the e-ects he heard in his head. RAJA used these processors as instruments, creating customized reverb and textures to suit each song. In the background of the slowly-pooling into Stars' is a sample of a man screaming in Hindi that RAJA recorded at a play in India with his iPhone. That same song opens with chords from RAJA's H3000-a-ected Yamaha YS 100 synth, making for a kind of orchestral commencement before the chaos that follows. On Ride Out,' which he describes as Bone Thugs-inspired,' he used a vocoder app to stretch and warp his voice. And H3000' came by its otherworldly sound after RAJA took a song he recorded on his iPad and slowed it down using reel-to-reel tape. What ties it all together and makes the record so immediate is the fact that each of the songs has a steady groove. No matter what unusual methods RAJA used to generate the sounds, the final product feels cohesive and enveloping. 'Inclusion' was the theme of this record,' he explains. Innovation can be done in a very disciplined and subtle way. Look at Prince's discography—the stu- he's doing is still, to this day, immensely innovative, but you wouldn't feel so challenged by it that you think, 'I can only listen to this at a certain time.' Too many people take the approach, 'If you don't get this, you're not complex enough—you're not part of the future.'

I think people who talk like that are on the wrong side of history.' Though they were recorded in a variety of locations—in hotel rooms while RAJA was on tour, or while he was traveling throughout the Indian state of Rajasthan, all of the songs on PARA move within a specific, ordered universe. Zerulean,' with its skittering drum track, nods RAJA's work in hip-hop, blending warped synths with a heaving rhythm. Butterfly on a Jet' summons both the anxiety and tranquility of its title, synths bobbing and darting over rattling drums. And Koi Fish,' which RAJA says was inspired by Jersey Club, wobbles and leaps, a dance song engineered for early mornings. Throughout the record there are hints of the music RAJA grew up on—trace elements of hip-hop in Flying Towards the Ground,' soulful club music in Broken Computer,' glitchy jungle rhythms in Shook.' What unifies PARA is its ability to reference an encyclopedia of dance genres while maintaining an aura of mystery and calm. And while the music it contains is forward-thinking, it remains approachable—easy to enter, easier still to get lost inside. The title, PARA is an open-ended 'For,'' RAJA explains. It could be 'For You,' it could be 'For' something you're doing. Ultimately, it's for whatever you want it to be for.' PARA retains that flexibility and fluidity, while staying true to the person who who made it. I feel like I was very prepared to make this album,' RAJA says. I wanted to include everyone, and say 'This is my voice.'' On PARA, that voice comes through loud and clear:

Coldwave / darkwave debut album by San Francisco based producer Gabriel Ramos.
While the band has gone through some lineup changes Ssleeping Desiress has essentially remained the sole recorded output of Gabriel Ramos, who has been the only constant member. The album runs the boundaries between minimal synth, coldwave, and electro with lyrical themes spanning gentrification to coping with loss.

Ssleeping Desiress has certainly become a gem in the electronic underground with the only official release so far being the great "A Voice / Sister" 7inch on FlexiWave in 2012 and a handful of other songs appearing on numerous new wave compilations. The self-titled album presented here takes the project to the next level, kicking off with an echoing caterwauling drone over repetitive drums and outbursts of synths & guitars, and slowly moving towards a more darkwave sound on the second half.

Gabriel Ramos started making solo recordings while living in Portland, Oregon around 2005. He was inspired by the DIY drive of the city, hosting live shows at his house, (which frequently would consist of friends' bands from San Francisco) and his growing fascination and voracious consumption of music: "I can trace it back to the first time Spector Protector played at my house and getting a tour cassette afterwards from one of the two members, Eric Davis. That and being freshly exposed to groups like Suicide and Arthur Russell were very inspirational to begin recording music on my own, which was something I had been doing, though fairly aimlessly up to that point. In terms of sonic influences, I try and change my process as much as I can (usually through collaboration) and vary the instrumentation. My visions of songs usually end up as a clunky homage to late 70s punk rock, a marriage of dub and krautrock repetition and cavernous space.'

After prequel ''Terror From The Deep'' episode, Mystic Jungle's tribe lands to Solaria planet, with a sound inspired by craters, solar wind and obscure presences who are probably responsible for the hieroglyphics found in an abandoned cavern. The Mystic Jungle saga continues...

Brandneue 6-Track-Vinyl-only-EP von Kelela, eine der stärksten Vertreterinnen des Future-R&B, frisch gesignt auf Warp Records, z.T. produziert von Arca. Die "Hallucinogen EP" - von den Meinungsmachern bei Pitchfork als "sinnlicher, feinfühliger Hi-Definition R&B-Ansatz" bezeichnet - erzielte bereits mehrere "Album Of The Week" Platzierungen in den Trendmedien (Spin, Stereogum) und besitzt laut Guardian "mehr Ideen in den 6 Songs als manche Künstler in 6 Alben haben". Auch das Radio
hierzulande zeigt sich sehr aufgeschlossen.

Unshaken in his vision, Keith Tenniswood is an artist who's emotive electronic music, and ethos has seen him lorded as an innovator and machine funk specialist. As long term collaborator to Andrew Weatherall in their now defunct Two Lone Swordsmen guise, and with his continual sonic experiments as Radioactive Man he mans a landscape of music without rules or boundaries.
Opening the his debut release on Reinhardt, lead track White Light Monochrome channels a mechanical rhythm, with a tip of the hat to electronic music founders Kraftwerk. Intensively building to the 3 minute plus mark, before haunting keys lead the way, descending into a cybernetic electro workout.
Future driver Space Ranger takes to the audio freeway, mainlined for Detroit. Imprinted with Tenniswood' unmistakable style, finely honed snares layer up around distorted low end frequencies, coursing in a hypnotic expedition towards the outer districts.
Channeling the tendencies of Bauhaus and Joy Division, the warping Transponder documents the ever prevalent post-punk influence within the output of Radioactive Man.
In close pursuit EP closer Mechanical Music Menace levels the floor. Beaming into the stratosphere, live bass pulsates through the system as man and machine fuse, xylophone keys take front and centre taking us beyond the stars.
Digital bonus track Hideout evokes a sound with one foot in the past, and an eye on the future. A trademark continually present through the music of this uncompromising and inventive producer.

Raze de Soare bears all the signifiers of Future Nuggets' trademark "maneletronics" - taking cues from the bustling but traditional Romanian lutreasc - the Oriental motifs, the nostalgia and longing, mixed with 20th century electronics, a sort of psychedelic 70ties or 80ties chilled sound, starting off with dope bass and squeaky synth sounds. It could be made in the retromania of present day, as well as dug out from the vaults of Romanian synth pop. - Easterndaze

Die dritte von insgesamt vier 12" Vinylen zum SOHPIHE Debütalbum "PRODUCT" mit zwei brandneuen Tracks.

Low End Theory resident & veteran Los Angeles DJ Nobody creates
the crucially timed full-length Vivid Green via Alpha Pup Records.
Embracing the flux within LA underground musical movements of
the last fifteen years, Elvin Estela has been on the studio grind while
touring internationally refining chops in bass heavy beats, electronic
bangers and psychedelic rock.
Since debuting with one of Los Angeles' first instrumental hip-hop
full lengths with 2000's Soulmates, Estela has gone on to remain
relevant within the shape-shifting scenes of LA's multicultural
artistic climate. Nobody utilizes the same signature mood, melody,
and diversity that identified him in 2000, but with an unmistakable
modern upgrade - no doubt influenced by Low End Theory, the club
he co-founded in 2006. Vivid Green is expanding on the repertoire
that has kept Nobody standing as a strong symbol for open ears.
Vivid Green is strongly instrumental, but boasts the vocal
collaborations of The Mars Volta's Cedric Bixler-Zavala, electronic
songwriter Baths, laid-back SoCal rapper Nocando, freak-soul
Kendrick Lamar collaborator Anna Wise (Sonnymoon), and Teri
Gender Bender of Les Butcherettes/Bosnian Rainbows.

Features Cedric Bixler-Zavala, Baths, Nocando, Anna Wise
(Sonnymoon), and Teri Gender Bender of Les Butcherettes/
Bosnian Rainbows

Art and layout by Sonny Kay

Pressed on Green vinyl

Alister Johnson is a forward-thinking producer and DJ. He first emerged on the Toronto scene in 2006 via the Do Right! 12" Single 'Like A Star'. His trusted ear in the studio has been in development since the early age of 16. Johnson's obsession with discovering and manipulating new and unfamiliar sounds has led him to create a unique body of work that includes disco re-edits as Catalist, live performance work with Azari & III, and producing Zaki Ibrahim, just to name a few of his diverse accomplishments.

"Do It Again" is the title track from Alister's recent digtally-released EP (2014). The single, featuring the smooth soul vocals of Rahan Boxley, has been playlisted internationally and has finally made it's way onto this limited edition vinyl pressing. On the flip side we've placed the equally impressive dub remix of the track by Good Timin's Jex Opolis. Stay tuned for more releases in our relaunched 45 series and for Alister's upcoming full-length album.

Bonobo returns with a majestic new 12' featuring the 'Ten Tigers' (Bengal Edit) rework, exclusive new track 'Duals' and Maya Jane Coles' bass heavy re-rub of 'First Fires'.

Helge Tømmervåg aka Mind over MIDI (Silent Season / Beatservice) presents his third album for diametric. and it is a beautiful return. With over 30 years of experience the Norwegian ambient music composer is on top of his game. Deep Map is a wonderful album that is immersed in majestic melodies and atmospheres. Where his last album for diametric. 'Monolog' fascinated by a high degree of darker moods and a more minimal and drone inspired approach, this new masterpiece shines a lighter and more melancholic light. Epic pads are forged together with field recordings and unusual found sounds to create a beautiful deep ambient album.
150 manufactured limited CD's in recycled cardboard packaging. Digital release to follow 5-6 weeks after initial release.

null+void Recordings launches with a new release from London based producer Shinra neatly following on from his contribution to Balkan Vinyls Mutant City Acid compilation earlier this year. Here he presents a four track EP of space age, acid laced and Rephlex resonating electro. A music blog for five years and radio show for eighteen months starting out on Rinse FM in 2014 and now monthly resident on Leeds' KMAH Radio, null+void has been a space that gives platform to techno, electro and experimental electronic sounds. Early DJ support from fabric resident Craig Richards and Don't and Super Rhythm Trax boss Jerome Hill.

Tomaga's debut Futura Grotesk was released in November 2015 and the album and subsequent lives shows drew plaudits from musical luminaries as diverse as Tony Conrad, Nicholas Jaar, Silver Apples, and the post-punk band Wire, who invited the duo to do a European tour together.
If Futura Grotesk was the wakeful thought form, then Familiar Obstacles is the unconscious interzone, evoking numerous shades of the musical hinterlands of Tomaga, fusing studio experiment, field recording, and tonal spectrum into something that by turns resembles musique concrete, imaginary soundtrack and library music.

This was originally released as a limited edition cassette by the Blank Editions label in Spring 2015 and appears here re-edited and re-mastered for vinyl. Tomaga are a London based duo who have played over 50 live shows in 2015 in venues and festival across Europe to widespread critical acclaim.

Herva is the artist name of Hervè Atsè Corti. He lives in relative seclusion from the dance music world in the Italian countryside around Florence and is one of the most intriguing producers to work in house and techno for a while. His early musical life as a drummer, plus his extra-musical interests in engineering and electronics has informed a unique, freeform, and very tactile approach to dance music. It's house and techno that doesn't adhere to the usual influences of Detroit, Chicago or Berlin. The album he's made called 'Kila' (the Swahili word for 'everything') was put together using software and hardware that he often modifies, with a mixture of beats and samples punched in like old-school hip hop and synths and effects that give his tracks the feeling of dance music that's been teased apart, smudged and smeared. The music is relaxed and warm but simultaneously abstract and punctuated with ragged detail and gritty disruption. He's been in demand as a producer for a while now and has recently remixed Berghain resident Nick Höppner's latest release. "You hear my music, you get to see how my brain works" he says. The album moves across tempos, from the floaty upbeat disco of 'All Good On Your Side' to the full throttle electro of 'Seat Behind Mirrors' which gently gives away to a looping Burundi vocal. Then down to the old-school hip hop and wonky ooze of 'Mistakes Dealer'. The track 'Fading Above Smoke', is held in place by a repeating drum pattern while synths and samples scrape and wrap themselves around the rhythm. 'Dust Cover' approaches the sound of early Pole, as if it had been described to him but never heard, sending digital grit and glitches across a low-slung bassline and opaque dubbed-out chords. The album finishes on the overloaded climax of 'Fog', which runs awkwardly edited samples over a loose drum tattoo, with enough restraint to keep the track flowing.

Neuauflage des 2010er-Erfolgsalbums, das lange vergriffen war! Die LP erscheint mitsamt CD!