Beats News

This mysterious duo (Sasin) was formed via a stroke of chance in a basement record store in Detroit.
Recorded over a three day period at a mountain side studio in Oakland California, this is the first e.p. in a 4 part series from those sessions.

Dance floor tested, Subwoofer approved.

This is the next positive Dance Sacred Experience!

Colours of Infinity is a new alias for Melbourne based producer Andy Donnelly. His debut album follows a recent sold out split 12" on Brokntoys offshoot, Discos Del Quebranto, as well as a string of releases as Kloke on labels including Styles Upon Styles and Sub Squared.

Under his latest moniker, Donnelly has axed the dense, sample-heavy hardcore continuum he is best known for and developed a more back to basics approach, using old, cheap hardware and primitive recording techniques to capture performances in the spirit of 70s bands such as Cluster, early Tangerine Dream and latter day artists like Ekoplekz and Pye Corner Audio.

The results are 11 tracks that draw on the shared anxieties and dystopian moods of 2017 to offer a narrative of a future in which civilisation has decayed at our own hand and yet, among the rubble, a growing signal of optimism can be detected from the genesis of the machines.

RIYL: Cluster, Harmonia, Tangerine Dream Ekoplekz, Pye Corner Audio, John Carpenter, Carl Craig

One time pressing, strictly limited to 300 copies.

Mastered by Simon Davey @ The Exchange Vinyl in his converted bank vault.

Lunch Money Is A New Breed Of Psychedelic Jazz. Adventurous Compositions That Keep Both Body And Mind Fully Engaged, The Music Juxtaposes Expansive Textures With Off-kilter Hooks And Rhythms. Deep Basslines Rub Shoulders With Angular Post-punk Guitar Riffs, Floating Synths And Horns, All Blending Onto A Head Nodding Syncopated Drum Beat. A Heady Brew Of Dilla, Davis And Kraut Marks The Arrival Of London's Newest Jazz Deviants.

The Run Of 300 7" Singles Will Be The First Release From New Label None More Records. The Record Will Also Be Available Digitally.

R&S welcome electronic composer Matthew Puffett AKA Future Beat Alliance with his killer single ’Never Forever’ a sublime slice of broken beat techno that originally had a limited release on his “Patience and Distance” album in 2009. It now comes backed with a first rate remix courtesy of R&S regular Afriqua.

A veteran of the UK electronic scene originally from Oxford but now located in Berlin, Puffett made his name in the late 90s with a string of sought after releases on Void Records under the aliases Mode-M and Soul Electrik before settling on the Future Beat Alliance handle. Notching up releases with the likes of Delsin, Rush Hour and Versatile as well as with the storied Tresor imprint, both as a DJ and an artist. In 2019 Matt started his new imprint Reward System to self release new creations.

Life long friend from Oxford, Mo’ Wax and Unkle maestro James Lavelle reached out in 2012, which led to a further creative chapter in Puffett`s story that culminated with him co-writing & programming on Unkle’s 5th studio album ’The Road Part 1’ as well as some singular work in film and television. “The moving image plays a key creative motive in my process,” Matthew explains. “Sound & picture married together is such a powerful combination that always inspires me every time to make my own version, 'Never Forever' is one of my many attempts to try and
capture that.”

Taking cues from modern cinema masters like Denis Villeneuve, Panos Cosmatos, Steven Soderberg and Jonathon Glazer and their respective composers, Puffett's widescreen sonic craftsmanship alongside his irresistible rhythmic sense are a key part of what makes Future Beat Alliance music so alluring; "I want my tracks to guide the listener on a exit route far from this world”

Seattle’s Profit Prison is back with a new 6-track EP.

The solo work of Parker Lautenschlager, previously in local hardcore and black metal bands as well as power electronics acts, was debuted by Dominick Fernow’s Hospital Productions in 2017 and his first full EP Six Strange Passions was released by Avant! approximately one year ago. Inspired by Franz Kafka as much as Kraftwerk, Profit Prison achieves a cold minimalism that speaks to the nightmarish dystopia in which it was created, even more so in the light of the political events that shook the US and Parker’s very hometown recently.

His new Dreams of a Dark Building continues on the dark path of its predecessor, mixing catchy synth melodies and gloomy atmospheres, all strengthened by 70’s disco-like Hi-NRG electronic beats for the perfect dungeon synth pop outcome.
The opener Cleric sports a riff that could have been written by the evil twin of Gershon Kingsley, A Premonition sounds like Ken Laszlo had joined the dark side. 120 Days is the main single of the EP and it’s just melancholically addictive, In This Hour Of Loss has got synths that would make Moroder proud. We could go on but we bet you got the score by now. If you’re in for the best umbriferous synth music, look no further.
Artwork by London-based talented young artist Hila Angelica.

RIYL: Kraftwerk, Experimental Products, Das Ding, Autumn, Fata Morgana.

Nach der Veröffentlichung seiner "Dreamzone EP" verbrachte der gebürtige Finne Jaakko Eino Kalevi das vergangene Jahr hauptsächlich damit, Shows und Festivals von Europa bis Japan zu bespielen. Letzten Sommer veröffentlichte der finnische Workaholic zudem seine "Yin Yang Theatre EP" für das Beats In Space Label des New Yorker DJs & Radio Hosts Tim Sweeney, die mit ihrem bohemen Disco-Sound erneut aufzeigte, wie vielseitig Kalevi sein kann. Die zweite Hälfte des Jahres 2014 mixte Kalevi sein fertiges Album dann in New York mit Nicolas Vernhes (The War On Drugs, Run The Jewels) und zog anschließend nach Berlin. Sein selbstbetiteltes Synthie-Pop Album erscheint Mitte Juni auf CD und Vinyl via Weird World/Domino Records.

- Limitierte rote 2LP+MP3 Downloadcode im Gatefold Sleeve und neuem Cover Image und Linernotes von Simon Green. Inklusive bedruckten Innenhüllen und einem 12" Art-Print mit dem Original Cover.

Ninja Tune veröffentlicht eine Jubiläumsausgabe zum 10. Geburtstag von Bonobo’s Klassiker „Black Sands“ angekündigt, womit bereits ein ganzes Jahrzehnt seit der Veröffentlichung des gefeierten bahnbrechenden Albums des Produzenten und Multi-Instrumentalisten Simon Green ins Land gezogen ist. Das Album hielt einen einzigartigen Moment fest - es wurde von Kritiker*innen bewundert, erklomm die Spitze bei den Alben des Jahres von Resident Advisor und DJ Mag und verkaufte sich bisher weltweit über vierhunderttausend Mal.

Beeinflusst von den unterschiedlichen, bassbetonten Strömungen der britischen elektronischen Musikszene zu der Zeit, passte Green diese sich entwickelnden Klänge kunstvoll in seine eigene, umfassendere Vision ein. Die bleibende Bedeutung der Platte ergibt sich aus der Tiefe, die er in diesen Kombinationen fand, rasselnden 2-Step-Rhythmen und druckvollen Subbässen, gepaart mit sorgfältig ausgearbeitetem Songwriting und üppiger, brillant umgesetzter Instrumentierung.

Zehn Jahre später ist die Platte der wichtige entscheidende Schritt in Greens hintergründigem, aber unaufhaltsamem Aufstieg zu einem der größten Elektronikkünstler unserer Zeit. Inzwischen kann er sich mit sechs Alben rühmen, darunter das karrierebestimmende 2017er-Album „Migration“, das Platz 11 der offiziellen Albumcharts in Deutschland erreichte und zwei GRAMMY-Nominierungen erhielt (ebenso wie seine 2019er-Single „Linked“), außerdem spielte er ausverkaufte Konzerte auf der ganzen Welt und brachte seine kultisch verehrte Live-Show an mehreren Abenden hintereinander in den Alexandra Palace (auch bekannt als „Ally Pally“), zum Glastonbury Festival, auf das Red Rocks Amphitheater in Colorado oder ins gigantische Berliner Fahrradstadion, dem Velodrom.

Cyan85 teamed up with Wuh for a dreamy-electro record under the CYWU moniker

“It’s not easy to transform a jam into a proper tune that haunts forever. The two Glaswegian friends MR TC and Lo Kindre are in possession of that special skill that can transform spontaneous tuned-in music into something significant without losing the gut feeling along the way.

As solo artists they have released on labels like Optimo Music, 12th Isle and Against Fascism Trax, and together released 'The Storm EP' in late 2018 on Vienna's Neubau. Now they continue their collaborative work on PHASE001 – an EP that also marks the launch of their own label that listens to the same name. The start-up brings four analogue tracks that courageously link cold waving synth-shocks, neon-light nonchalance and haunted spoken words; deep hypnotic musical witchcraft that peels itself out of the history of dark electronic music with a pulsating and haunting atmosphere.”

- Words by ML

A reflection on modern life glimpsed through theprism of communications technology, ‘u,i’ wasrecorded almost entirely over VOIP (voice over internet protocol) apps like Skype. Using voices
extracted from personal video feeds and instrumental performances (cello, flute, violin, clarinet, organ), these were sent between their
studios in Berlin and Montreal via VOIP and rerecorded whilst playing with bandwidth reduction to colour and accentuate its flaws and distortions.

Fascinated by the way technology materialises memory, and by “the sound of its failure, pushed to its limits and breaking apart,” Johannes and Olivier have been collaborating for 20 years, working on numerous film projects together. Olivier previously worked under the Ensemble alias, in which Johannes participated as mixer, arranger
and co-writer. Ensemble’s 2000 debut (on Aphex Twin’s Rephlex label) led to Björk drafting Olivier to remix several tracks and to co-write ‘Desired Constellation’. After two further Ensemble albums on FatCat, Olivier’s own-name debut was released on 130701 in 2017.

For fans of Akira Rabelais, Johann Johannsson, Max Richter, The Caretaker, A Winged Victory For The Sullen, Grouper, Abul Mogard.

In support of their forthcoming Bob Moog documentary Electronic Voyager, Waveshaper Media have produced a compilation LP of Moog recordings from the 1960s. The first compilation of its kind, Electronic Voyages: Early Moog recordings 1964-1969 contains tracks by Robert Arthur Moog, Herbert Deutsch, Joel Chadabe, Lothar and the Hand People, Intersystems, Ruth White, Max Brand, and Paul Earls. All of these tracks, released here on vinyl in an edition of 1000 copies, have been scarcely heard and difficult to track down, with all but three of them previously unreleased on vinyl.

Bypassing the Moog synthesizer’s backseat appearance on key pop recordings by the likes of the Beatles, the Doors, and the Beach Boys, Electronic Voyages aims to highlight the diverse approach of 1960s musicians and composers who adopted the Moog as their primary instrument; these recordings all feature the Moog synthesizer front and centre. Beginning with an “audio letter” (The Abominatron) from Bob Moog to his musician-muse Herbert Deutsch, demonstrating some of the first Moog synthesizer prototype’s capabilities, Electronic Voyages veers from avant-garde and electronic soundscapes, to psychedelic madness and summer-of-love pop. In the 1960s, the Moog synthesizer was a new, groundbreaking instrument, and its use was completely uncharted territory. The pioneering use of the Moog on all of these recordings sounds fresh today - you can sense the wide-eyed exploratory delight unfolding, and the disparate results range from endearingly naive (Lothar and the Hand People, Paul Earls) to downright eerie (Ruth White, Intersystems).

The musicians and composers behind these Electronic Voyages may have been among the first to adopt Moog synthesizers, but the fact that they so readily found within them expressivity, heart, and a means to translate their wondrous sense of discovery, speaks far more to Bob Moog’s visionary invention and enduring legacy.

Malfunctioning speakers, & digital dreamscapes, SQUIRRELS ON FILM's 4th release explores the outer reaches of techno with impolite, reckless abandon.
Psychedelic sound explorer Its Own infinite Flower, who was
responsible, along with head squirrels Solar & C.l.a.w.s., for San
Francisco underground punk rave/happening Hostile Ambient
Takeover, unleashes his first official release, The Plumes of Love (ARE BLACK!). After contributing a track to 2017's Spacetime Continuum/ Juju & Jordash curated Air Texture V compilation, this four track EP of abstract tech-noise brings the sounds Its Own Infinite Flower refined in the basements & warehouses of the Bay Area's underground music scene to the wider world, whether it's ready or not.
'Drone, Drugs 'n' Dissonance' creeps into life as a thunderstorm of
white noise, out of which a cold-rave pulse somehow metastasizes into something resembling techno, although this is a deformed, uncivilized, unwanted mutation, separated at birth & raised in a toxic wilderness. It builds slowly before turning up in a rage of digital distortion, a black metal dub party held at the edge of a melting glacier. 'Oh, Empire of Roses' is a Dada Phycho Jazz Electro number. Dissonant synth chords snake around each other in a playful ouroboros of manic future funk, never knowing if it's starting or stopping, coming or going. Relentless bass throbs through the track, which almost threatens to bubble into classic acid electro before fizzling out. On side two there is 'Devotion to a Peacock Angel,' an angular breakdance groove for the characters in the bar scene in Star Wars. Electro dub rhythms keep stay grounded as everything else rips apart in all directions over the course of the track. On 'Misfortunes of El Dorado' a soundsystem bangs in the next room, only the deepest bass escaping, shaking reality until it's torn apart in waves of distortion, a classic techno synth string wandering over the top of everything in a full blown Techno Jazz Odyssey.

SQUIRRELS ON FILM continues its adventure at the edges of techno
with the mind bending stylings of Its Own Infinite Flower's debut EP,
fitted with another beautiful hand-drawn, full color sleeve by New York artist Bert Bergen. The Plumes of Love (ARE BLACK!).

‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythmobsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro- Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity.

Recorded over 2017-2019 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo. Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play.

‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system.

With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy.

Riccardo Mazza is a hidden master of the Italian experimental music scene, a scene that has been extremely important since the late 70’s or so. Coming from that background, he has besides his actions as his solo crusade RM, also been active as member of filth noise outfit Lettera 22 (with Matteo Castro, owner of the label Second Sleep). As RM, he is freely surfing between old school industrial, futuristic techno for space base nightclubs, ambient music fitted for abandoned factories and a kind of timelessness that inspires and resonates

For his first EP ever, Master Flashhh carved 5 beautiful tracks of analogue funkiness, drawing inspiration from drifting in Georgia, solitary walks alongside the ocean in Finist?re Brittany or recording his neighbors banging behind the wall.

'We Attack Before Dawn' is the 3rd instalment in the 'Sonar Base Transmissions' series on Deeptrax created by the long standing Dutch Electro pioneer Frank De Groodt under his Sonar Base alias. After the Deeptrax reissue of the legendary first album 'Sonar Bases 4-10' and the first vinyl issue of the mini album 'Dark Matter', this next chapter is yet another collection of savage, clever and spooky electro tracks.

First issued on vinyl by Cultivated Electronics in 2012, this reissue of 'We Attack Before Dawn' features a somewhat different tracklisting.

It opens with the full bodied, TB-303-smeared electro of 'The Deadly Storms of Uranus'. Slices of snare tear through an acrid acid line with shadows stalking the backdrop - a turgid and terrific opener. The second one, 'The Soul Of e1-Q42z' was only available as digital download before, but this track with pitch-dark haunted synth sounds and rolling beats would perfectly fit in a horror movie soundtrack and fully deserves a vinyl release.

The 303 is once again employed for 'The Journey Home'. But the aggression of 'Deadly Storms...' is pared back, with Sonar Base lowering the BPM for a meandering work of dereliction. 'The Swarm' is a hardy piece of raw electro too, but in comparison to the first trio of mechanized militia 'The Swarm' is sheathed. Last one, 'Photon Filers' is also on vinyl for the first time, and much like 'The Soul...', it sends you severe shivers up and down your spine. Don't say we didn't warn you!

Frank de Groodt started releasing in the early 1990s, on Djax-Up-Beats (as The Operator, Optic Crux, Urban Electro) and on U-Trax (Sonar Base, Pieces of a Pensive State of Mind). Two of his later releases as FastGraph (on Klakson) got reissued in 2018. He is also involved in projects like Ultradyne and Random XS and one anonymous project...

The next instalment of quickly rising star Binary Digit comes on Seven Hills Records, following two EP’s on the Zeitnot sub-label. The Never Owned a 303 EP ups the ante into stratospheric energy levels. Feel good anthems ‘Acid Racing Head’ and ‘Luring Acid’ work wonders on the floor. While the headier jams ‘Ze7u II’ and ‘Never Owned a 303’ are better suited to deep off-kilter segments in the dance. Positively Drexciyan sounds feature in ‘Virtual Modular 2 Tape’, and a pure adrenaline rush inducing ‘Crazy 4 R’ makes this release a combination of different moods, Binary Digit’s most varied record yet.

Scanning Backwards, das zweite Soloalbum von Phase Fatale nach seinem 2017er-Debüt auf Hospital Productions, ist Musik über Kontrolle. Mittels der Verbindung von Klang als Waffe und psychologischer Manipulation als konzeptuelles Fundament, erforscht Hayden Payne Wege, auf denen Musik – und besonders Subbassfrequenzen – benutzt werden, das Denken zu beeinflussen als auch Emotionen und Verhalten zu synchronisieren: von Militärtechnologie zu Sound Systems zur Körperlichkeit und Sexualität queerer Technokultur.

Ausgehend von seinem innovativen Post-Punk-Ansatz zu Dance Music – nachzuhören auf seinen EPs für unterton und Ostgut Ton – bezieht sich der Berghain-Resident auf seinen Hintergrund als Gitarrist und Toningenieur. Daraus entstand auf Scanning Backwards eine berauschende Mischung aus gebrochener Rhythmik, Noise- und Shoegaze-beeinflussten Technos, oft mit langsamerer Gangart. Am Ende steht Musik mit Platz und Tempo zur weiteren Ausdehnung, das intensive Brausen von Frequenzen hervorhebend, die sowohl in der sonischen Kriegsführung und funktionaler Dance Music vorherrschen. Im Verlauf der acht Stücke, die eine Kombination aus historischen und fiktionalen Narrativen aus Literatur und Science Fiction im Titel tragen, ergründen Paynes rhythmische Exkursionen unterschiedliche Manifestationen von Klang als Macht – spezifisch im Sinne des Berghains als musikalisches Instrument. Dies reflektiert auch das Artwork des Albums: einem frühen Flyer der Partyreihe SNAX entnommen und offensichtliche Hommage an die Fetischisierung von Machtdynamiken.

In seinen eigenen Worten: „Alle Stücke dieses Albums, gleich welcher Stil, habe ich zugeschnitten, um auf ganz bestimmte Weise im Berghain zu klingen. Im Laufe der vielen Jahre als Tänzer inmitten des Dancefloors und auch während meiner DJ-Sets als Resident bemerkte ich, welche Frequenzen den Körper so richtig penetrieren. Das beinhaltet Sprache, Hochfrequenz- und Hirn-penetrierende Instrumentierung, Sägezahn- und Schlagbohrhammerästhetiken – die hatte ich bis dahin noch nicht so oft benutzt, denke aber, dass sie Einfluss auf das Denken und Gedächtnis haben. Das trifft besonders zu auf einen Ort, der schwule und Fetisch-Geschichte auf unerwartete Weise mit Musik kombiniert, auf fast kultische Art. Eine musikalische und physische Deinstallation und Neuprogrammierung, Psychic Driving und De-patterning, das Löschen und Ersetzen von Erinnerungen.“

Scanning Backwards wacht über die manipulativen Eigenschaften elektronischer Musik (Mantras, Loops, unterschwellige Botschaften) und wie Rhythmus sowohl Bewegung als auch das Denken in Einklang bringt. Ein Puls koordinierter Klang- und Hirnwellen.

Scanning Backwards, Phase Fatale’s second full-length album following his 2017 debut album for Hospital Productions, is music about control. Using the connection between weaponized sound and psychological manipulation as a conceptual foundation, Hayden Payne explores the ways in which music – and sub frequencies in particular – are used to influence thinking and to synchronize emotions and behavior: from military technology to sound systems and the physicality and sexuality of queer techno culture.

Known for his innovative post-punk takes of dance music as featured on EPs for unterton and Ostgut Ton, the Berghain resident draws on his background as both a guitarist and sound engineer to create a heady mix of broken rhythms, noise-, and shoegaze-inflected techno, often at slower tempos. The result is music with space and pace to expand, highlighting the intense rushes of frequencies found in both sonic warfare and functional dance music. Over eight tracks named after a combination of historical and fictional narratives from literature and science fiction, Payne’s rhythmic excursions explore different manifestations of sound as power – specifically within the context of seeing Berghain as an instrument itself. This is also reflected in the album artwork, taken from an early flyer for the SNAX party series and an obvious ode to the fetishization of power dynamics.

In his own words: “All tracks on the album, no matter the style, were tailored to sound a certain way in Berghain – something I figured out through years of dancing in the middle of the floor, DJing as a resident and investigating what frequencies really penetrate the body. This includes speech and high-frequency, brain-penetrating instrumentation and drilling textures that I had not utilized so often before, but which I think also have an effect on thought and memory. It's especially true in a space where gay and fetish roots combine with music in unexpected ways, almost in a cultish manner. A musical and physical deprogramming and reprogramming, psychic driving and de-patterning, the erasing and replacing of memories.”

Ultimately, Scanning Backwards surveys not only the manipulative properties of electronic music (mantras, loops, subliminal messages) but also how rhythm facilitates both moving and thinking in synchrony; a pulse of coordinated sound- and brainwaves.

Für „Heartbreak“ machen Simon Green alias Bonobo und sein Produzentenkollege Totally Enormous Extinct Dinosaurs für eine Dancefloor-gesteuerte 12“ gemeinsame Sache, die auf einigen der Grundlagen elektronischer Musik aufbaut und eine Linie vom NYC der 1980er Jahre zu heutigen Warehouse-Partys zieht. Nachdem sich beide um 2015 in L.A. niedergelassen hatten, schlossen die beiden britischen Künstler Bonobo und TEED schnell eine Freundschaft. In den folgenden Jahren traten sie bei den Auftritten des jeweils anderen auf und tauschten Demos aus. Die 12" ist die erste, die über Bonobos neues Label, OUTLIER - das in Partnerschaft mit Ninja Tune gegründet wurde - auf den Markt kommt, und erweitert seine Veranstaltungsreihe mit Club-Shows und Festival-Takeovers auf der ganzen Welt unter dem gleichen Banner. OUTLIER wurde im ikonischen, wenn auch inzwischen leider geschlossenen New Yorker Club Output ins Leben gerufen und hat Bonobo eine Reihe von Nächten und Festivals auf beiden Seiten des Atlantiks spielen und kuratieren lassen, zu denen bisher das Melt! Festival, Nuits Sonores, OFFSonar, sowie eine unvergessliche Nacht im Astra Kulturhaus mit Matthew Herbert, Dauwd und natürlich Bonobo himself, sowie andere gehörten.

"Things take a psychedelic turn for SchleiBen 7 with a welcome to the label of arch exponents of mind expansion in NYC's Georgia and the unlikely but no less diverse inclusion of Balearic stalwarts A Man Called Adam. Having Georgia in the series might not now be a surprise, however discussions with this open, genuine duo started during a visit to New York over 3 years ago and so here, finally realised in this fluid journey of confident pace and harmony, is the best of their freeform evocations. A duo in the everyday sense, Brian Close and Justin Tripp are video / music production teamsters of unnatural talent. Having gained a status of their own that has seen them release for the likes of Palto Flats and FTD, the five pieces that form their contribution drip with psychedelic intent. Culled from archives, the interest is how the tracks - made over different years, locations and situations in life - meld in to something poetic simply by being placed within a specific format. Avant-chimes ebb to rhythmic pulses and erudite teachings before dark percussion and Eastern melodies reach a clattering, but gentle finale. With an upcoming collaborative album with Secret Circuit due on the label later in 2018, as well as recent works with RVNG Intl's Matt Werth and recordings for Sacred Summits' brethren Firecracker Recordings, it's a warm, effusive glow of a welcome. In contrast, the inclusion of A Man Called Adam in the series may indeed surprise but is a false comprehension. The "Sketches" included here show AMCA away from their Balearic pop incarnation of the last thirty years and towards the academia that both members Sally Rodgers and Steve Jones have pursued in the last decade. With both completing PHDs, Sally ('The Diachronic Impact of Technology-Led Abstraction in Oral, Written and Music-based Poetries') is a senior lecturer at Leeds College Of Music, while Steve ('Mobilise: The Carry Principle, Sound and Mobile Media') is based out of de Montfort University, now is the perfect time to highlight the diverse sound environments they have been working in. The music that makes up these recordings are drawn from sound works and audio experiments completed in recent years. From sound toys and apps to home made glass organs and electro-acoustic sound, custom patches to spoken word manipulations, the sketches are excerpts - some evolved from commissions for the National Science Museum, BBC Radio 4 and live performances with the world renowned video artist Milosh JL - fused especially for this release. Bringing these generated pieces in to an audible "mix" creates a discourse of their work in performance, interactions and visual media. An intellectualised album therefore, but still in the premise of the series to allow artists to present something new, unique, discrete, hidden even, all with the aim of giving the recipient the chance to sit back and (un)listen. "

Repress

Electrobass from the city of The Hague (La Haia Bass) in effect. Ruff, nasty and punk.

Newcastle born, Melbourne-based producer Cooper Bowman steps out as Roman Nails with his first 12' for Beat Concern. Following tapes on Where To Now (UK), Night People (US) + Rhythm Works (AU), Roman Nails has maintained a steady flow of experimental techno over the last few years. Utilising a minimal, CV-triggered hardware set-up and from a perspective rooted in improvisation, RN is a unique beast. The tongue-in-cheek titled, All Hardware No Tools, is his most concise and well-considered release to date, offering noirish synth tones, slinking basslines and captivating interplay between a 707 and 727. 300 copies.

SN Variations is pleased to announce its 5th release.Adrian Corker returns after a break living in Warsaw with two tracks composed for Lock Grooves recorded onto acetate,percussion by Sam Wilson(Riot Ensemble/Actress) and violin performed by Aisha Orazbayeva.The tracks also feature the piano of Mark Knoop and the voice of Josephine Stephenson.

A lock groove is one cycle of one groove on a record.This is 1.8 sec cut at 33RPM and 1.33 cut at 45RPM.Having used lock grooves on film scores for British film Waiting for You and The Have Nots directed by Florian Hoffmeister, Corker wanted to explore their potential further in a standalone more percussive release. He used the cutting lathe currently residing in the living room of The Exchange mastering legend Graeme Durham to experiment with different sounds cut onto acetate and then recorded over different durations back into a computer. These are combined forming frames for performances of violin, percussion and piano.

The record will be released on a vinyl pressing of 250 copies and download on July 5th

Reissue of their 1983 album..

Parallel zu seinem Mini-Album "Night Melody" veröffentlicht der Londoner Elektronik-Songwriter Ryan Lee West aka Rival Consoles eine limitierte Neuauflage seiner EP "Sonne" auf gelbem Vinyl.

Die 12'' war erstmals 2014 in die Läden gekommen. Der Titelsong beginnt mit einem "sehr subtilen Set von Melodien, welches sich fast gänzlich ohne Überzeugung wiederholt, um dann schrittweise einer riesigen Collage an Farbe und Kraft Platz zu machen", um es mit Wests Worten auszudrücken. Indem es sich nicht auf einen konventionellen Beat verlässt, ist dieses Stück ein erstklassiges Beispiel dafür, wie ein analoger Synthesizer die Kraft und das Moment einer ganzen Rhythmusgruppe erschaffen kann.

Von den verzerrten Wellen in "3 Chords", gleichermaßen wachsend und schrumpfend, bis hin zu den sich kontinuierlich beschleunigenden und verlangsamenden, rhythmischen Wellen in "Recovery", bilden der Moog Voyager, Prophet und ein altes Bandverzögerungsgerät den Kernsound der EP. In Songs wie "Helios", "Haunt' und "Think Tank" ist West wiederum live an der Akustik-Gitarre oder dem Schlagzeug zu hören

Seven Swiss artists & collectives sharing the same passion for music came together for a unique collaboration. The result is a sequence that evolves through rhythm and each contributor‘s colour of sound. Artists involved: Melodiesinfonie, Jack Pattern, Lexx, Look Like, Alma Negra, Manuel Fischer, Les Points.

If you draw a map of electronic music today, you will come to realise that Switzerland still represents a blind spot for many people. Even if you see from the inside the many talented artists romping about in such a small space, you have to admit that interest from the outside is virtually non-existent. Therefore there is only one way: Teamwork! The MEGAMIX is a statement for it.

From the city that brought you LSD comes a new album by Marco Papiro, a Swiss-Italian musician and graphic designer who has gained some notoriety with his album covers for the likes of Panda Bear and Sun Araw. 'Automare' is Papiro's seventh solo album, recorded on 4-track cassette, on hard-disk, in public and in private, entirely self-produced and now released on Nikolaienko's Muscut label.The five hauntingly evocative tracks offer a variety of atmospheres from surreal to arcane, from celestial to subaqueous. Synthetic sounds (some mature EMS, Moog and Roland) are combined with other assorted instruments (organ, shehnai, electric guitar and bass,) and emulsified through various time-and-space-bending devices. There are no percussions, with one surprisingly groovy exception, in which a drum machine is being generously treated with phaser and envelope filters - think of early Cabaret Voltaire with a North Saharan touch.



Papiro's handcrafted artificial vocals are anything but human, but all the more compelling: out of the fluorescent Plankton of the side-long opening track 'Rhenus Rebus' rises a siren's voice, reminiscent of Alide Maria Salvetta in Battiato's 'Campane', joined in a final mantra by an oboe borrowed from an inebriated Third Ear Band. Entering a chimeric karaoke bar, the title track 'Automare' makes the album even more bizarre by introducing a distinctive pop feel. Back to the abstract world, the following 'Polmonella' - a live recording with additional musicians Anthony Glass (aka Antenna Tony Monorail) and Markus Stähli (of Roy & the Devil's Motorcycle) - is a fevery exploration of cosmic territories in the manner of Harmonia, while the alien articulation of 'Incom' sounds unlike anything else ever recorded.

Formed in '92 with voice, distorted bass and drums. Band's symbol comes from a sign placed on witches graves, which is jolly. The assurance of the old sound sustained through energetic expression rather than shallow noise. Two MC's through Energeia, 'Simon Dreams In Violet' ('93), 'Dreaming The Lost' ('94).' Had Mick Mercer's 'Hex Files: The Goth Bible' been published a year later he would have added: 'and the self-released MC 'Follia' ('95) on their own label Interior Deus.'
25th anniversary limited edition vinyl of 341 numbered copies. Comes with a 16 pages insert also including digital album + bonus track.

Tim Gick's already-warped patchwork editing of the entire Crazy Doberman output thus far turns increasingly glitched out across the splattered quiltwork of a nine track LP on Aguirre. Any coherent sense of time departs early on the A-side; kicked off with the familiar sound of the Dobes' synth throb and Love-cry woodwinds on top of completely fried electric guitar squiggling, all suspended in spiritual foam; then battered to bits on the greasy flat top of the record's b-side.

Ringing modular synth sirens evoke alarmingly huge Southern watersnakes swimming on top of Oconee river. Total trip zone across two sides: brownouts in the sequence of events, dubby fadeouts, and bright jump cuts in space. Teases of cartoon barrlehouse tickling on the keys of a farmhouse piano and tape melt psychedelia. The recording session in Athens, Georgia was a total "CHUGFEST" recalls Frank Hurricane, the Appalachian juggalo folkie king, who joined the session with the Lafayette, Indiana crew. The presence of Hurricane's own "Life is Spiritual" mirth bulworks the record with a muddy, barefoot hippy hopefullness, steadying the log flume through the notcturnal psychic murk toward the holy morning dew. (J. Russ)

More heat from Berlin! (warehouse find)

The ambient/cross-genres record label Concentric Records (Simone Merli / Soundwalk Collective & Luca Calo / Born In 1986) - launches Colliding Wind, the second compilation of its introductory release trilogy. Featuring music by Christina Vantzou, Echium, Etapp Kyle, Jana Winderen, Kareem Lotfy, Soundwalk Collective, Tragic Selector (Daisuke Tadokoro & Terre Thaemlitz), the album is composed of a wide spectrum of ambient, field recording-based and experimental works, exploring unexpected sonic spaces and evocative landscapes.

COLLIDING WIND is inspired by the powerful force that is produced when a minimum of two beings or elements are combined and acting together. Science explains us that a colliding-wind binary is a binary star system in which the two members are massive stars that emit powerful, radiatively-driven stellar winds. The location where these two winds collide produces a strong shock. As we reference the state of world chaos today, a colliding-wind is a reassuring reminder of the inspiring thought that the act of coming together as one produces exponentially powerful results.

The opening track is SOUNDWALK COLLECTIVE’s ‘Running On Emptiness’. Commissioned by Sasha Waltz for her 3-hour epic choreography ‘EΞΟΔΟΣ I Exodos’, the piece is composed out of moving architectural structures and their echoing resonances. Back in 2012, the Collective has placed 147 contact sensors on all surfaces inside and outside of the Berghain club: concrete walls, steel staircases, water pipes, ventilation tunnels, air ducts, metal frames, ... mapping out the whole structure and progressively recording the entire movement of the building under the impact of the music, with the intention of exposing the silent voice of the building. This composition reflects the sense of a space that is left behind in between the margins.

Raised in a small town in western Ukraine, ETAPP KYLE was trained as a classical musician before his first teenage club permanently changed his musical trajectory. Over the past few years, his cavernous and often hallucinatory techno has dovetailed into an obsession with spatial qualities of sound. “10K was originally recorded in 2017 as a simple piano-leading ambient track during a home studio session. It was developed further only in 2020 after Simone & Luca invited me to contribute to the project. A sudden burst of inspiration came during a mix-down session when I tried to re-record the original timbre of the piano. Eventually, while experimenting, it went a completely different direction and the track turned into its present form. Thanks to Simone for an encouraging word while I was working on the track.” - Etapp Kyle

TRAGIC SELECTOR is the duo comprised of Daisuke Tadokoro and Terre Thaemlitz. “This piano piece was originally composed for an event with the Japanese Butoh dance ensemble Dairakudakan. The focus of Butoh seems to be stopping and holding the body in place. Globally speaking, from classical ballet to dance parties, most forms of dance emphasize movement. Perhaps the core of Butoh is more akin to learning to sit in a chair. In that sense, there are similarities to some forms of Western contemporary dance. But most contemporary dance still emphasizes movement. Butoh has a lot of stillness. In order to be still - to stop the body - a dialogue with gravity becomes necessary, which is how this piece gets its title. Pianos create sound by hitting strings with hammers. The hammers of a grand piano strike in conversation with gravity. The vertical hammers of an upright piano resist speaking with gravity. The high- grade electric piano used for this particular recording has a hammerlike mechanism. Whether or not it is in dialogue with gravity, I am uncertain." - Daisuke Tadokoro

KAREEM LOTFY (Arabic: كريم لطفي) is an electronic music producer, graphic designer and visual artist from Egypt, who lives and works in Cairo. Lofty’s work engages critically with current political and social issues. Influenced by Internet culture, he is fascinated by the intercultural mix in his native Egypt. ‘Molten Tactics’ offers a palpable departure from his usually lush and visceral ambiance, notably heard on Kelela’s AQUAPHORIA mixtape and PAN’s mono no aware compilation (the latter was sampled in Kanye West’s ‘I Thought About Killing You’). The track’s obscured granular synthesis creates a vacuum of feeling, leaving remnants of field recordings to guide the rest of the composition. It teases Lofty’s classically soulful and foreboding style – but only for a second before trailing off into the abyss.

CHRISTINA VANTZOU’s ‘Dvorjacked’ is a rework of Dvořák's "American" Quartet - Movement II (Lento). “It’s a fragment of the piece, one phrase really, and it's just old enough to be in the public domain which is of interest to me. I used a modular synthesizer called the Morphagene to loop and process the recording. I wanted to work with a piece of existing chamber music and I was especially looking for something that sounded like a love song. The process I used to decompose and recompose is modelled after mid 20th Century tape experiments so the piece points to early sound sculpting. The vague familiarity of the work is an important element. All of my work deals in some way with deconstructing existing musical forms and re-thinking them while considering how memory operates and how the brain deals with familiarity and abstraction.” - Christina Vantzou

JANA WINDEREN is an artist who currently lives and works in Norway. Her practice pays particular attention to audio environments and to creatures which are hard for humans to access, both physically and aurally – deep under water, inside ice or in frequency ranges inaudible to the human ear. ‘The Listener’ is a sound composition created from hydrophones and Sound Field recordings in and by the River Orne in Normandy. Freshwater biologists count underwater insects and use this data as an indicator of the water's health. If one identifies the sound of the specific underwater insects with their varying ability to survive forms of pollution, one can possibly, through focused listening, reach an understanding of the health of the river. «The Listener» (6 channel audio installation) was part of the exhibition Second Nature and the project Nature and Renaturation: A Sensory Overview of a History of Changing Watercourses. A three-year-long project which started in 2014 by Thierry Weyd, Esam Caen-Cherbourg (Art Academy) and Camille Prunet, Research Coordinator chez École Supérieure d’Arts et Médias Caen/Cherbourg

As part of the next wave of artists innovating within dub techno and experimental ambient zones, ECHIUM looks to loosen up its strictures while playing deep within its unfathomable dimensions, literally urging a dematerialisation of mindsets and musical structures with literal titles such as ‘Collapsed Senses’ and ‘Glacial Rust’ matched by meticulous sound design that connotes and evokes their meaning in the most elusively abstract, lushly sensorial terms. The result is the creation of imaginary spaces that smudge the listener’s perceptions of artificial and organic texture, tone and spatial dynamics. ‘Compulsions of Reality’, explores the emotions built into daily existence. A divergent semblance, exhaled through the sonic process. Locking sections of minute particulars, in time. This personally represents a gateway to the symbiotic understanding of how I no longer depend nor want, and why I had to stop, to become.” - Echium

Lucas Croon half of Bar and also known for his work with Duesseldorf projects like Stabil Elite and our uncle Themes For Great Cities delivers a four track EP full of downtempo synth and rhythm excursions. It's starting slow with a travel through the human spinal chord shaking it at a Suzuka Grandprix After Party in 1984 where you were praying on your knees in front of the Spiritus Sanctus because of too much champaign. You got me All tracks recorded at Pferdestrken Studio Dsseldorf. Cover artwork by Holger Kurt Jaeger, Layout by Jannes Becherer.

This double LP brings to light the music of Robert ÆOLUS Myers, featuring recordings from 1982 to 2006 that were previously available only on cassette or CD.
The music within A Retrospective tells the story of a man whose music elevates its listeners to a place of inspiration and enlightenment. Often ethereal, ÆOLUS' music is driven by synthesizers, melodic flutes, sweeping patterns, and subtle rhythms to seed inspiration from deep within the listener.

One might assume that ÆOLUS carved a new path for electronic music in Hawai'i, but the islands never quite fully embraced the burgeoning New Age scene that ÆOLUS found himself a part of during the 1980s and the early 1990s.

Few artists in Hawaii have produced a body of work, let alone embarked on a musical journey, such as the one that ÆOLUS has created.

For Aloha Got Soul, this release marks a new chapter of bringing rare and relatively unknown music of Hawai'i to the surface.

Trancemission over; Transmission begins. Delta Rain Dance is an experimental artist and label project delving into contemplative, and melancholic states, with a record that blissfully glides between ambient, and delicate-percussive, electronic states. A hybrid puzzle of melodic cuts, DJ tools and drum tracks, that can be mixed together to create new amalgamations of the source material.

'Trancemission/Transmission' showcases a musical narrative that transcends genres and moods, switching between flashes of dubbed techno, abstract percussive electronica, and stark downtempo vibes.

'Trancemission/Transmission' is a record structured around progressions, heavy on sound design and imagination. It takes the listener into different astral planes, from tranquil moments of temperate melodies, to off-kilter periods of electro. Ghostly radio transmissions, dubbed out Rhodes, underwater frequencies, and broadcasts from beyond the digital ether. It is a modern take on 'Music for Airports', albeit written for a post-millennial audience, one that grew up on Dilla, Vatican Shadow, Grouper and Digital Mystikz. Drum tracks, locked grooves, and sparse sketches of melody and reverb soaked harmonies. Delta Rain Dance has produced a body of work that exists in two halves; the trancemissions operating as celestial, ambient skits; moments of dreamlike serenity, while on the flip, carefully programmed beats infer moments of Detroit, dubstep, and IDM, gently providing the framework to the album's intricate, grainy basslines, and saturated overtones. The two halves of the record can be mixed together, and like a puzzle that needs to be solved, tracks fit together perfectly, creating an interactive musical game, in which the DJ can create new sonic interpretations of the album.

The 5th entry on the DDQ series continues to rake the kerbside muck of 'club music', presenting 2 disparate visions from 2 label heads.

KUMP's mastermind Gil.barte opens proceedings with the stuttering bodysludge of Guédé and Egareur. Two kleine nightmusiks to drag you out of meatspace, with the Kyuss-ala-PCP throb of Guédé especially sure to find favour on fog-bothering 8 AM+ floors worldwide.

Tempos pick up and lights turn down on the B-side, with Lostsoundbytes (Vastechoses label head), driving disintegrating delays and snares into 3 Belgiqué-nouveau tools, keeping the rhythm & textures bumping throughout.

Artwork by Thibaut de Wolf

Manchester club lynchpin Henzo smashes the debut platter on DJ Python’s Worldwide Unlimited with a bevy of dembow and garage-bred bangers that speak directly to the city’s transnational
dancehall links As the story goes, Henzo heard DJ Python plays his beats at the club he was managing in MCR’s hipster warzone - the NQ - and the pair soon hit it off, leading to Henzo now giving Python’s brand new label, Worldwide Unlimited, a killer starting point with ‘Not Like That, Not Like You’; four variations on a hyper-tropic sound that Henzo has been pushing for the last half decade and more with his Strange Riddims raves, whose upfront policy of dancehall modernism - from grime to reggaeton, hard drum and anything-goes Manc pressure - supremely informs his debut EP, proper.
Version for version Henzo confidently fires himself into the forward tier of Manchester producers, striking a heavy vein of mutant dembow-meets-Mahraganat pressure in the acidic bashment of the title tune, before stepping up the ghosted dub dynamic on a driving ‘Less Of That Mix’.
The other slow banger ‘For Your Consideration’ revolves a vocal snippet saying “speak to me” - one of Python’s often-used phrases - so was naturally elected to the EP, rolling out a bubbling,
sticky dembow-electro groove in the ‘Sauna Mix’, and a ruder UK-styled 2-stepper pivoting off woodblock snares in a screwfaced ‘Gym Mix’ Worldwide Unlimited is envisioned not only as a label, but a small gesture towards community uplift. 100% of label-side proceeds will be split between the artist and a local charity. Proceeds from WWUNLTD022 will go towards The Rec. Centre in Manchester,
org) a casual space in which artists, DJs, interviewers and teachers can create, record & hang out. Members of the BAME & LGBTQIA+ communities, as well as people on universal credit and/or benefits, are offered free usage of the space.

Astonishing rhythmic inventions from Mark Fell and percussionist Will Guthrie, messing with meter and space in a pair of ingenious, boundary-probing pieces arriving as Japan’s Nakid label’s debut release. ‘Infoldings’ combines synthesis and sinew in unpredictable, pointillist arrangements where Guthrie plays against patterns derived from Max MSP patches by Fell. The album’s two tracks are in this sense different to the man-machine concept of Fell’s acclaimed ‘Intra’ album, where he triggered performances by Portugal’s Drumming Grupo De Percussão to play a metallophone designed by Iannis Xenakis. Here, the pair find common/contrasting purpose in a probing of the rhythmic signatures of Gamelan and South Indian Carnatic musics, with groundbreaking, unusual results. Recorded at HFG, Karlsruhe (where Fell is guest professor), and finished later in respective isolation, the two pieces were edited from iterations of call-and-response between Fell’s rhythmic patterns and Guthrie’s overdubs. They effectively propose beguiling and convincing solutions to electronic music’s problems with grid-lock, using illusive generative processing that appears to make physical actions seem unfeasibly effortless, while melting the computer’s clock to a realtime, free-hand syncopation. On the taut, snapping structures of these two pieces they enact a form of quantum origami that sounds like an MIT-designed robot playing cubist jazz with a sense of mischief and complexity that recalls Fell’s studies of brownian motion on ‘Scale-Structure-Synthesis’ (2011), and strikingly builds on his creative relationship with Guthrie that started with their ‘Oglon Day’ (2019) album alongside Oren Ambarchi and Sam Shalabi. In all, it’s one of the most liquid, forward iterations of computer music you’ll likely hear this - or any other - year

FILM Recordings will release the debut LP from Denial of Service.

The album follows up EP's Sensou (2015), and more recently Contour & Shape (2017) - but marks the producer's most expansive release on the label thus far by some margin. Clocking in at 15 tracks, the lengthy opus draws from the same palette found on previous work - drum machine driven, heavily mutated Electro and IDM sit alongside low slung Techno cuts and arpeggiated EBM references. As ever, the production is stunning - crisp and plosive, as much a record for the club as it is a tempered headphone experience; whilst the mood channels that same dank, claustrophobic energy found on previous missives.

As a body of work, the LP displays the distinctive touch of a production veteran. The transformative shifts in structure on opener A Fine, New Mother Now belie a kind of boldness found less often across the contemporary electronic music landscape; and the drum programming on IDM-leaning explorations Autoimmune & Supercell bear the hallmarks of a perfectionist with time on his hands and in full control of his art. Space and the placement of sonic components plays a huge role in the artist's work and the 3 Stigmata of Palmer Eldritch displays this canny knack for generating both textural, wide angle soundscapes whilst maintaining that wrought-iron edge to drums and percussive elements - even more fervent, noisy compositions like Dr Manahattan manage to keep hold of this remarkable balance. It's impressive stuff, a fine and well worked meeting point between artistic vision and engineering prowess.

An elongated discussion, no doubt - but worth hearing every word. Each twist and bend, however sharp, remains carefully placed and beautifully recorded. Dryer works Slither & Junkie Foxtrot towards the LP finish offer a less introspective, more hard hitting angle to the work, and by the time the listener arrives at dual closer the Daisy Chain - Adults - they're ready for its heady catharsis.

The debut album from Denial of Service is a trip, and the line between club space and home listening environment is decidedly blurred - an emotive exploration of true psychedelic Electronica, delivered direct from the source.