Beats News

LP version comes with free download card.

Radio support from Benji B & B Traits (BBC Radio 1), Nemone (BBC 6 Music), . DJ support from Ben UFO, Joy Orbison, Caribou, Tessela, Mosca, Kowton, Ron Morelli, Bok Bok

Print features confirmed in Groove, Beat Mag, Faze (DE), Tsugi (FR), DJ Mag (IT), Volkskrant (NL), The Gap (Austria)

Print reviews confirmed in Mixmag, The Wire, Crack, DJ Mag, Uncut (UK), Blow Up, Rumore, Rockerilla (IT), Irish Times (IE), Musikexpress, Doppelpunkt, Westzeit (DE), Exclaim (CA)

Online features / premieres: The Fader, NPR, XLR8r (USA), The Quietus, Dummy (UK), Wasabeat (JP),

Hessle Audio are excited to announce the release of the self-titled debut album by Pearson Sound, aka label co-head David Kennedy. Characteristically minimalist in approach, its nine tracks use a handful of elements to craft mesmerising, self-contained worlds, alive with motion and near-subliminal detail: from vast and inky landscapes, to electrifying rhythm tracks, where layers of percussion and bass tumble over one another like rocks in a landslide. Recorded between 2013-4, Pearson Sound documents a distinct phase of Kennedy's studio explorations. "I had a signal chain set up that I was really happy with, and I started sending my machines through the same processes" he says. Expanding upon the techniques underpinning his recent REM and Starburst 12"s, its tracks emerged swiftly through improvised jam sessions, some were captured in a minimum of takes, while others later took shape through extensive sculpting and post-processing. "A lot of it was made by feeding the the same sounds between two different pieces of equipment and they'd end up feeding back between each other and snowballing. On some tracks it's about harnessing that and taking it to the brink before it disintegrates, and some of them are about just letting it go full-blown out of control." The result is a record of striking contrasts: bold, stark and visceral, yet also subtle, harmonically complex and deceptively playful. While Pearson Sound's livewire percussive energy remains inextricably rooted in the club, this exploratory studio process has created Kennedy's most wide-ranging yet coherent body of work to date: a suite of thrillingly impulsive, expressive and open-ended music, untethered from restrictions of form.

"The Best Driving Music in the World Ever" was written and recorded during a 48 hour lock-in session, having never left the studio until completion. The artist stated, "This all came together due to a bout of loneliness and depression that swept over me one Friday evening. Being lonely sometimes can render positive results, something I am learning. I decided to go and make a guitar-based record and not leave the house until it was done. I succeeded and this is what was made." The tracks were then sent over to be mastered by Rafael Anton Irisarri at his incredible studio, Black Knoll in New York, US.

"The Best Driving Music in the World Ever" was written and recorded during a 48 hour lock-in session, having never left the studio until completion. The artist stated, "This all came together due to a bout of loneliness and depression that swept over me one Friday evening. Being lonely sometimes can render positive results, something I am learning. I decided to go and make a guitar-based record and not leave the house until it was done. I succeeded and this is what was made." The tracks were then sent over to be mastered by Rafael Anton Irisarri at his incredible studio, Black Knoll in New York, US.

Limitierte Vinylauflage des Remixalbums "Faded Now", das 2020 kurz nach dem letzten Chromatics-Albums "Closer To Grey" digital erschien und neben Remixes von "Closer To Grey" Songs auch brandneues Material enthält. Die limitierte LP erscheint auf farbigem 180g Vinyl, das per Zufallsprinzip (rot, weiss oder klar) sortiert ist und entsprechend per Zufallsprinzip ausgeliefert wird.

"...I'm doing time where the dreams are for sale..."

Splatter Vinyl

Shall Not Fade welcomes Rotterdam based producer Kessler to the family with six weighty jams for their "Basement Tracks" series. Rising Rotterdam based producer Kessler has been bubbling over the past 12 months with a string of high quality releases on labels such as Yellow Island Records and his own KESSLER TRAX imprint. His first full vinyl outing sees him serve up a bass driven masterpiece for Shall Not Fade's new "Basement Tracks" series. Ambivalent EP is nothing short of spectacular, weighty breaks meet dreamy synth patterns on this killer dance disc.

Visceral, elemental, electronic funk, conjured from scraps of sound, breath, mutterings, dubwise remembrances, scuffling, sweat and blood, thin air — ‘crawled out of the slime’, as the opener puts it, self-engendering like the baddie in Terminator — all harnessed to cruelly grooving earthquake bass and b-boy drum science.

Rhythmically it has ants in its pants and it needs to dance, with an improvisatory, streetwise nervous energy and uninhibited, purposeful rapture, crossed with on-song Pepe Bradock and stripped-to-the-bone, mongrel hip-hop.

It’s unruly and edgy, a bit off its rocker, emotionally ranging — typically anxious, often nostalgic — and riveting dance music.

I know it sounds completely obvious and all that but it really does feel like a bit of a landmark to be putting out the 10th Holding Hands record. What started as an outlet to release my own music has become so much more already, namely small family of artists who I believe are writing some of the music exciting dance floor slammers in the world. Almost everyone on the label is a long time friend of mine, often reaching back 10-15 years and it is a real privilege to be able to put out this amazing music and to watch it get such a great reaction from all you legends out there!

The 10th release comes from two of my best mates, Gallegos who I have known since he came up for a weekend of ridiculousness in my second year at Leeds to stay at another close friend Conor’s house. He is one of the best story tellers I have ever met and if you ever get to know him then you can look forward to many a riveting tale. He is also a criminally under appreciated producer and I hope that this release will do something to help get his name onto many more people’s lips.

Martina Topley Bird and Robert “3D” Del Naja (Massive Attack) have collaborated on a limited run of MTB’s previously digital only ‘Pure Heart' EP release. The 4 track EP, including a vinyl exclusive track “Collide”, is now presented with 3D’s artwork, released via his Battle Box imprint.

Each 12” sleeve will be individually hand silk screen printed using 2 colours on 350gsm reverse board to create a collectable and unique piece of art.

Martina Topley-Bird's distinctly creative relationship with Robert Del Naja, the artist also known as 3D can be documented through a long history with Massive Attack and rooted in those very first visits to Bristol that lead to Topley-Bird appearing on Massive Attack’s 2010 album Heligoland with tracks "Psyche" and "Babel".

Commenting on the significance of the collaborative project and artwork release, Del Naja;

"We are proud to be releasing this special 12 inch MTB X RDN edition of the Pure Heart ep on the Battle Box label. It's a symbolic way to celebrate our first musical collaboration since Heligoland.”

Battle Box is Robert "3D" Del Naja’s limited edition vinyl imprint which has released collaborations with Guy Garvey, Tunde Adebimpe, Jupiter, James Massiah and Noel Gallagher.

Cejero present a limited edition cassette from Roc Jimenez de Cisneros & Stephen Sharp aka Evol (Editions Mego, Diagonal, New York Haunted).

Imagine Prometheus, the thief of fire, the father of civilisation, had been spellbound by the sirens chanting and never felt pain, when the eagle bit his liver. Total enchantment, created by sound to overcome the pain of existence. A sound, styled by the ideal harmony of body and soul. And yet, the pain is still there, hidden between the notes, driving a romantic vision of salvation.

If Prometheus could have translated his fictitious epiphany into singing, it might sound like Ghédalia Tazartès’s chanting in “White Layers Over Black Paper”, one of the eight snake dance tracks-not-tracks by German producer Detlef Weinrich aka Tolouse Low Trax and French singer, hurdy-gurdy, spinet and harp player Emmanuelle Parrenin. During some days of intimate plays in Paris they created “Jours de Grève”, a bouquet of music full of mirrors, eyes, statues, secret doors, rooms, and blood. With the offhanded help by friends and like-minded souls like Versatile aura mystic Gilbert Cohen, French avant-garde saxophone player Quentin Rollet and his fellow countryman, experimental voice artist Ghédalia Tazartès, they transformed in Cohen’s studio impulsive emotions into a kind of medieval cult sound that dances with tribal dub layers in search for a higher ground.

The session took place during an intensive time of public strikes in the French capital, that tied up the public life of Paris and gave birth to the album’s title Jours de Grève. After the jam, Weinrich drove back to his old hometown Düsseldorf, sat down with his friend Jan Schulte aka Wolf Müller and mixed the captured notes, sounds, rhythms and singings into pristine tripping music, that avoids stylistic categorisations. As rather architecture, sculpture, painting, performing or film could express what Parrenin’s hypnotic hurdy-gurdy performances, Tazartès’s ancient deeply emotive ululations, Rollet’s almost religious saxophone notes and Weinrich’s toting grooves evoke in the psyche, it might be better to go back to Prometheus and the fire, that brought us light and warmth. Jours de Grève does too.

And it is a stolen one. A borrowed one. Affected by art and life outside of sound. Lent from a forgotten monument in a random city around the world. Swayed by an afternoon glass of wine in a Parisian street café. Affected by music of all ages. Unconsciously developed in the spirit of Philippe Doray and Les Asociaux Associés, Théâtre du Chêne Noir d'Avignon or Areski Belkacem’s collaborations with Brigitte Fontaine. Above all Emmanuelle Parrenin extramundane voice swings, mutating between speech and chant, while Ghédalia Tazartès mourns like a wise illusionist. In tunes like “Caltec’s Dance” you even feel the airiness of early Fun Boy Three recordings. All that is rooted on Weinrich’s Tolouse Low Trax magnetic signature grooves, this time floating between dark tribal upbeat sexiness and dubbed-down bass sculpturalism.

If it is true that illuminating music stirs by its mysterious resemblance to the objects and feelings which motivated it, then “Jours de Grève” is an in impulse composed primitive state of rhizomatic paranormal psychic phenomenon, that incorporates all the worlds, that the naked eye cannot see.

1st solo album in 5 years, recorded, produced and written by Richard H. Kirk, founding member of Cabaret Voltaire, the album was constructed at Western Works, Sheffield, over a three-year period. Work began with recording on midi and analogue synthesisers before guitar and vocals (Kirk's first use of vocals in 10 years) were added. Kirk explains, A lot of time was spent on post-production, editing and then living with the material and I think it benefited from stepping back and then revisiting after doing other things.'
Although not an overtly political album, it's hard not to hear a reaction to recent years' world events in the overwhelming urgency of 'Nuclear Cloud' or '20 Block Lockdown' or in 'New Lucifer / The Truth Is Bad'. When questioned Kirk admits, It's not really a political album, but over recent years - during the recording - all manner of horrorshow events have cropped up and now we seem to be in a rerun of the Cold War with Russia back as the Bogeyman.' The album's title, Dasein (a German word meaning being there' or presence', often translated into English as existence'), is a fundamental concept in existentialism. Kirk explains culture succumbs to nostalgia in much the same way that an individual looks back wistfully to adolescence or childhood - the nostalgia is partly for a time when he or she wasn't nostalgic, just lived purely IN THE NOW.' In 2014, during the recording period, Kirk began work on Cabaret Voltaire live and so the two projects coexisted in tandem. Although Kirk's varied projects have always existed separate to one another, says Kirk, in the past some solo works served as a blueprint for what I did later with Cabaret Voltaire'. Billed as a performance consisting solely of machines, multi-screen projections and Richard H. Kirk, Cabaret Voltaire recently announced the first UK performance in over 20 years at the Devil's Arse Cave (aka Peak Cavern) in Castleton, Derbyshire on Saturday 29 April. Kirk will perform entirely new material for a performance relevant to the 21st Century with no nostalgia. RECENT PRAISE FOR RICHARD H. KIRK One of the UK's pioneering electronic agitators' - Electronic Sound In five decades of key-bashing and knob-twisting, Richard H. Kirk has remained at the vanguard of electronic music' - FACT ...decades of electronic innovation, forged in Sheffield' - Uncut
Kirk was toying with distorted realities from 1970s onwards' - Record Collector

This collection of 12 luk thung* songs from the 1960s-70s, all produced by Surin Phaksiri, is a superb showcase of cross-genre/multi-national fertilization, with Latin, jazz, western pop, Indian and Japanese music seamlessly melding with the musical culture of Isan (northeast Thailand), which is strongly rooted in Laotian culture; indeed, the Isan language, as featured in these songs, is a form of Laotian. Esteemed producer Surin Phaksiri, an Isan icon, always strove to drive Thai music forward, with innovative techniques and open ears, introducing international elements as well as Lao influences, including the use of the khaen. Many of the singers here, all famed and respected, have Lao roots, and it is predominantly through music that the Isan Lao-Thai culture has entered the Thai national consciousness. These lovely and joyous songs are, for the most part, previously unavailable outside of Thailand; more than half are first-time reissues. The wide range of songs here includes covers of Japanese folk and pop songs, a paean to marijuana, proto-Thai funk, a ramwong-style** dance tune, a cover of a Bollywood classic, some straight-ahead luk thung, a unique Indian-style luk thung, and a gorgeous answer song to a movie hit. An array of gems, available on vinyl and CD, with English translations of the lyrics and Soi48’s liner notes. Cover art by Shinsuke Takagi (Soi48)

* Lukthung: A musical genre whose name means ‘country person’s song’ or ‘children of the field’. The name became established in the latter half of the 1960s and now has the status of a national genre of popular song unique to Thailand. The lyrics of luk thung songs deal mainly with the rural idyll, comparisons between the city and the countryside, life in the big city and current affairs. There are certain typical traits to the music, but no official musical form.

** Ramwong: A unique form of Thai dance music, fostered as a means of promoting national pride and unity. Similar to Japanese Bon Odori, participants form a circle and dance together. The term can refer to the particular style of music, or the actual dance.

Originally released back in 2008, now repressed!

Mika Vainio (1963-2017) was best known as half of Finnish cutting edge experimental electronica duo Pan_sonic.

Ø is Vainio's original solo pseudonym dedicated to his native label Sähkö Recordigs since 1993. Where Pan_sonic uses pure, industrial and sometimes harsh sound elements, Ø reveals Mika Vainio's deeper, passionate and sometimes even romantic side.

Cosmic Chronic Records, in association with Peoples Potential Unlimited & Gangster Groove America, presents Psychic Mirrors' debut LP, "Nature of Evil."

Snowmelt is a new record by Australian artists Seaworthy (aka Cameron Webb) and Matt Rosner, the long awaited follow up from their 2010 collaboration Two Lakes. Matt Rosner continues to explore the natural world to inspire his work based out of remote Western Australia. His most recent release being No Lasting Form (Room40). Webb's output as Seaworthy has been sparse in recent years as he continues to pursue a career in environmental research, focusing on urban wetlands and their ecosystems. This marks the first substantial release since Wood, Winter, Hollow, a collaboration with Taylor Deupree in 2013.

Congestion EP is Frak's killer collab with the unconventional Go! Finger music platform. The Swedish trio shows off athletic skills producing fresh modern techno bangers, on the heels of a three decade trajectory, filled with countless highly appreciated releases. Some kind of "glorious habit", captured this time by the catchy Madrid label on vinyl. Bizarre 4/4 analogue-treated techno madness at its best! A brilliant vinyl slice of yesterday and today's nastiest Scandinavian floor-destroyer-dance-punk weirdo science.

Repress!

After the release on Helena Hauff's label Return To Disorder earlier this year, the Hamburg based producer turns to Eye For An Eye to release his awaited EP "Zerstore Eine Stadt". A well crafted piece divided in 5 different moments that portrait the mind state of L.F.T. living in an industrial city with mechanical and optimized routines. Sharing the A side is the punchy and muscular "Alles Was Du Hasst "and "Atomic Enigma", the last an introspective and misterious slow tempo ebm-ish piece. "Zersto?re Eine Stadt" featuring vocals from Rosaceae is an emotive piece expressed through distortion pedals, revealing the poetic side of rage and trauma. "I Don't Like Your Party" plays around a playfully sinister melody and charmingly offbeat vocals that give this track a unique groove. "Dead Rat Under The Table" cools the whole EP down, ending it as intense and mesmerazing as it started.

Soundclash or romance? Androo versus Bony Fly have composed six tracks finely balanced between the care given to sound experimentation and the explosive ardor of the dancefloor. Love Affair EP was born from this particular research, the fruit of a common passion for dub music, dancehall and its infinite variations. Radical and popular, the EP carries within it this generous and spontaneous quest for dance, naturally provoking body movements. It is also combined with a particular attention to sound textures, subtle and harmonious, whose multiple references (to jazz in particular) testify to an overflowing curiosity.

2021 Repress in Red Vinyl

The LP edition will contain 2x180gr-vinyl Navigate between dreamlike electronica, hypnotic ambient and melodic techno. No doubt this is one of key electronic albums of 2012. Despite the many years still ahead of him, Rone has already come a long way, being one of the most acclaimed young French musicians on the electronic scene.

His videos have spread all over the World Wide Web with the speed
of light and his powerful liveset has been appreciated from Sonar Festival to Panorama Bar. Three years have passed since the release of 'Spanish Breakfast' and now his next album, 'Tohu-Bohu' (hurly-burly), is coming out 5th November 2012 via InFiné.

Limited repress
Limited edition album issued for the Colundi Benelux Tour from 23-10 till 26-10-2015! 10/23 eve to 10/26 eve: Thesmophoria - Old Greek festival commemorating the transformation of Goddess Kore (Queen of the Living) into Persephone (Queen of the Dead), when She eloped to Elysium with Her partner, God Dionysos/Plouton, accompanied by Goddess Hekate and spirits of the dead. At Eleusis, Dionysos was considered the life aspect and Plouton the death aspect of the same Deity, just as Kore was considered the life aspect and Persephone the death aspect of the same Deity. Dionysos was wild, and subject to excess drinking, dancing, and sex. While Kore, Gaia, Zeus, and Helios considered Him to be a marital prize, Demeter thought otherwise. Consequently, She mourned their union by striking the Earth with famine. Small batch available for the local record stores.

2021 Repress

Erstmals auf Vinyl erhältlich: das hochgelobte Debütalbum "Spanish Breakfast" aus 2009 des französischen Produzenten Rone, u.a. auf #17 in den "Top 25 Records of 2009" bei Electronic Beats. Eine fantastische Melange aus Electronica, Ambient und Techno, gemastered von Rashad Becker, Dubplates & Mastering (Berlin), die massiven Support von Laurent Garnier, Optimo, Jean-Michel Jarre und Sasha erfuhr.

FAKE #1 – THE ABSENCE

The deaf noise of the socialmedialism thrills misery. The hate array, the dreams of profit spurt a modern ideology made of science and technology for a factory shaped city. The user worker, the content product. Login. All in. Proletarian Romance - Life in sharing. Love by the hour. Idealism motel. Sexual class conflict. Moral hierarchy.
Fast Sci-Fi, Internet Overdose, Gourmet overexposition; Speed depression. Ethical inquisition. Wellness preservation. Right patrol. Afflicted soul. The information, the information - the information...
The new verbs of the power. To like, to be Liked. The followers - the swollowers. Mobile addiction.The window on the wall. The beginning of the century. Political correct. Business coma. Social Warming. Open Sea - freedom breakdown. West civilization sunset - block express. External Memory. Extra limb. Grim... Tough solutions required, the destruction of meaning. Emergency exit, only.

Proc Fiskal's second album sees a reorientation of the source elements of his music. Where ‘Insula’ fed off samples of the ramblings of his friends and sounds of his hometown, ‘Siren Spine Sysex’ is laden with an inner voice of sampled Gaelic, Irish and English folk music, contorted and imbued into the futurist body of modern pop; the ghostly anima image of the female folk voice and the lamenting wheeze of the accordion rub against the rush of icey 808s and angles of Grime. Joe Powers’ family history is in folk music, with several of his forebears active in the Scottish Folk revival of the 1960s. It's this cultural baggage - the Caledonian Antisyzygy of the earnest folk tradition he was raised in – alongside the modernist dance music he makes, that brings a personal element to the album. The music of ‘Siren Spine Sysex’ examines dance music as folk music, re-routing them both comparatively, with the wordless emoting of chopped and screwed Gaelic vocals leading to joyous pop songs like ‘8 Mgapixel See Thru Phone’ and 'Leith Tornn Carnal’. Though fast and detailed, ‘Siren Spine Sysex’ feels relaxed and pastoral at times, its edits and drums sensual, swelling, and reactive to the music, its textures influenced by the tinny 16 bit flutes, strings, and wacky scores of gaming soundtracks.

A boundless creative spirit, Australian artist Paul Schütze has worked for over forty years as a musician, photographer, visual artist and perfumer. He has exhibited at institutions such as the Hayward Gallery, the V&A and Madrid’s Arco, held residencies at the Cité des Arts in Paris and has works in collections worldwide. He has collaborated with musicians from Jah Wobble to Toshinori Kondo, from Bill Laswell to David Toop, and worked both as a filmscore composer and music critic in print.

A new, remastered compilation of key works from Schütze’s catalogue, The Second Law, collates music from various periods and albums. Represented here are tracks from 1990’s The Annihilating Angel, an album of blissed-out fourth-world mystery; from the transcendent homage to traditional Indonesian gamelan music The Rapture of Metals (1993); from the ethereal, spiritual, Nino Rota-esque melancholy of 1991’s Regard: Music by Film. It is occasionally dark, industrial and begrimed; occasionally paradisiacal and breathtakingly elegant. There are works of celestial, astronomic grandeur alongside microscopically detailed miniatures. Empty, deserted spaces of man-made abandonment contrast with studies of ornate natural beauty.

A double-LP comp of timeless techno gems including Jaydee 'Plastic Dreams', Laurent Garnier 'Crispy Bacon' and Ame 'Rej'.

A tribute to a lifetime dedicated to music and athletics, specifically the marathon. A mini album where the melodies are mixed with IDM and electro rhythms, creating a single trip and trying to transfer the listener to what Merinero lives in each marathon he runs.

Something wicked this way comes. Following singles 'Know The Future' b/w 'Digital Warfare' in 2019 and 'Hypersocial' b/w 'Safety Test' in 2020, ESP’s own Patrick Conway has now teamed up with the illustrious Appleblim (of Skull Disco and Apple Pips fame) for a meaty self-titled debut 2xLP under the new collaborative moniker, Trinity Carbon. There is something to be said for art created in the face of global unraveling, while mass transgression and the friction of culture shifting produce poignant commentary, but more often than not, it’s the personal coping mechanisms within our work that have the power to speak directly to the receiver. After a number of sessions resulting in wild imaginative beginnings, it was the untimely passing of Andrew Weatherall and a coming to terms with that loss that moved the two Brits-via-Berlin to herd their roaming sketches into a more narrative statement. In the uphill struggle to retain some sense of individualism, it’s always outsiders like Weatherall whose risks illuminate the roads of creativity less traveled, and when those beacons go dark there is a disorientation felt far and wide. Conway and Blim concede to the internal inquiry, “What would Weatherall do?” bringing to mind the man’s pervading morale, always soldiering onward through mediocrity, as it was undoubtedly an impetus for the duo growing steadfast and chiseling 'Trinity Carbon' into completion. While employing trusted machines in the bass department, they established a warm euphonic home base from which they could stray in a variety of tonal and rhythmic directions without straining a tether to the album’s core. However, as soon as any hint of familiarity may arise, or listeners begin to mentally assign stylistic epithets, the duo boldly change course to remind us that while the banal stay safely defined, it’s the iconoclasts, the outsiders who make us feel.

We are quite pleased to be bringing you this new album of mind-bending, pseudo liturgical and potentially lysergic electro acoustic compositions from Paris based, Belarusian composer Lina Filipovich, entitled "Magnificat". With its dark echoes of early Doctor Who episodes, and it's bent and twisted, industrially tinged and distorted choral decay, it seems at times like an ominous soundtrack to an end of the world sci-fi film. This is the standard vinyl version in an edition of 90 copies.

Stadsbilder ("City Images") is the first collaborative album between Swedish musicians Jakob Lindhagen and Dag Rosenqvist. The composers have both made names for themselves within the contemporary music scene - Jakob as an award-winning film composer with solo music streamed in the millions on digital platforms, and Dag as a highly prolific musician and sound artist,
having over 50 releases over the last 15 years in a vast array of constellations, both solo works and as part of the duo From The Mouth Of The Sun, as well as film composing and music for dance performances. The music on Stadsbilder intertwines layers of organic and electronic sounds, with minimal piano melodies meeting vintage synthesizers, found sounds,harmonium, banjo, kantele, Fender Rhodes and saxophone, as well as cello (played by Sebastian Selke of CEEYS).

Castles in Space is thrilled to present Luke Requena’s debut solo album, “Mirror Stage”. As the Lacanian title suggests, it is a collection of meditations and self-reflection translated into sonic explorations of the space that connects the macrocosm and the microcosm. Inspired largely by Tarkovsky’s film Solaris, the making of Mirror Stage was a musical journey of internal struggle across subconscious landscapes.
Requena is a composer and multi-instrumentalist based in Vancouver, BC. Although his main source of sound is analog synthesizers, he also integrates santur, guitar and organs into his pieces. Drawing influences from artists such as Günter Schickert, early Pink Floyd, and classical Persian music, “Mirror Stage” emits waves of sonic and lush textures while exploring the dark cosmos. It’s a genuinely enthralling work.
Luke has already released a double album, “Nocturnal/Seasonal” with John Jeffrey, drummer of Moon Duo, for the Castles in Space Subscription Library as part of the new age electronic jazz project, Oscilloclast.

Straight from the vaults of one of the most prolific and successful artists in our scene, A Sides brings you three previously unreleased classic tracks to titillate your ear holes! All lovingly sourced and remastered from DAT, this EP includes the never before heard I Know All There Is, and then two follow ups to established classics – a remix of the huge tune “Earthquake” and a part 2 to Alpha 1, called, well, Alpha 2. This limited press is unmissable….

Dark Entries continues celebrating our 10 year anniversary with ‘Preservation Bias’, a compilation of lost songs and rarities from Linea Aspera out June 28th. The group formed in London in November 2011 by Ryan Ambridge (Synths/Programming) and Alison Lewis (Vocals/Synths). Within the duo, Alison writes and performs all vocal elements, while Ryan is responsible for producing, recording and mixing the electronics. We released their debut self titled album in June 2012 that was followed by a posthumous vinyl reissue of their tour cassette “II” on Weyrd Son Records in 2013. For all recordings Ryan utilizes an analog synthesizer set up: Roland SH-09, Roland Juno 6, Vermona DRM MKiii, Korg Poly 800 and Analogue Solutions Semblance. Linea Aspera's sound includes clear influences from 1980s electronic body music, synth-pop, industrial and noise. Lyrically the band incorporates the sciences of osteology, neuroscience, and anthropology weaving a new medical language around themes of desire, despair and renewal. Linea Aspera is the muscle attachment on the back of the femur and translates to 'rough line' in Latin. ‘Preservation Bias’ features all three songs from the limited ‘II’ tour cassette EP, four songs from the 2012 self-titled limited cassette EP and one song from the Desire Records 2013 compilation ‘And You Will Find Them In The Basement’. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each LP is housed in jacket designed by Niall Greaves and includes a double-sided insert with lyrics.

Recorded and mixed by Peter Rehberg at Twisted, Wien March 2015-January 2016 Mastered and cut by Rashad Becker at D&M, Berlin, January 2016

Artwork by Tina Frank

Dedicated to Thomas Jerome Newton

Twelve years have passed since Editions Mego boss Peter Rehberg released his last full length release 'Get Off' on the Hapna label. In the interim, along with running the label, Rehberg has embarked on a series of soundtracks for the French artist and choreographer Gisele Vienne. Out of this collaboration the seeds were planted for the prolific KTL, guitar/computer duo with Stephen O Malley.

After a surprise return to live performance in 2015 we are now presented with Pita's new full length document under the banner of Get In.

Get In extends the perennial Pita sound into a paradox of intimidation and beauty. 20150609 teases the juncture between the human and the tool, the improvised and composed and the analogue and digital. Aahn inhabits a field of electronic nebula, simultaneously inviting and alien. Line Angel could be a new form of minimalism for the post internet crowd. S200729 harks to an acid most splintered whilst Mfbk completes proceedings as an ambient drift underscored with classical overtones.

Get in is a beautiful, engaging and unsettling listen. A multi-headed hydra presented as the ultimate dystopian sonic journey.

Transversales is very glad to announce the release of Mémoire Magnétique Vol. 2 spanning 1966-1993, revelatory collection of short and secret music by electronic music pioneer Bernard Parmegiani.
Since the late 50's, Bernard Parmegiani, a major figure of electroacoustic music and a founding member of GRM has created some eighty two concerts music. From the start,
Parmegiani’s work was closely linked to the screen, with dozens of documentaries, films, long features, animation films but also musical pieces for dance, stage or television. If many of his pieces are landmarks in the history of electroacoustic music (De Natura Sonorum, La Roue Ferris…), his application music compositions are strongly embedded in the subconscious landscape of the French public (Stade 2, Roissy Paris Airport…).
The second volume of this compilation allows us to discover some of unreleased rarities from Bernard Parmegiani’s personal archives and unpublished recordings which were composed for the screen or the performing arts.

2021 REPRESS! Robotic, atmosferic, dark electrotechno as we have come to expect from The Exaltics. Reminiscent of old B12, Transmat and Dopplereffekt releases.

Gen Ludd are Glasgow-based Rich McMaster (Golden Teacher, Modern Institute) and Tom Marshallsay, both of whom are a big part of the extended Rubadub family. Their music perfectly embodies the Rubadub ethos of music for heads and feet.

After months of negotiations with our minister of finance Hillington West Snr, TAFKNAGL (That artists formerly known as General Ludd) return with four precise cuts of pure rhythm and motion.

These tracks are a message to the Ramona-toting, gymnasium-powered international dance deejay. Please be bold enough to play them... you'll make the world a better place. We'll give you free WAVS too.