Beats Novedades

Breakbeat Paradise Recordings is on a neverending jouney of providing DJs and music lover around the world with the raw funky sounds of the golden era of funky party breaks. With a number of 12" vinyls and digital releases focusing on the oldskool breaks and funk it seemed like a natural thing to put some of these joint out on the 7-inch format.

To launch the Toxic Funk series we called upon some real heavy hitters and subject matter experts on the party rocking funk material. BadboE & Tom Showtime has teamed up to delivery 3 timeless cuts of no-nonsense funky boom bap bangers.

Kicking things off with the epic We Funk Tings running low and slow at 95 BPM but maintains a funky vibe accompanied by some slick funky rhymes.

On the flipside BadboE and Showtime brings on the latin flavors on the We Have It Hot jam that maintains the street attitude with an infectious latin groove and on point funky rapping.

Last but not least the catchy vibes are given a timeless funky boom bap beat to bring this 7" home as an instant party starter for the funky DJs across the globe.

Get your hands on this funky plastic – cuz it won't last long! Its Toxic!


a A1 We Funk Tings clip
[b] B1 We Have It Hot [clip]

In seeking to explore music's place in time and space, Emotional Response has cast a wide fusion. Interpretations on krautrock (Black Deer/Montezumas Rache), techno (Not Waving/Roy Of The Ravers), kosmische (Brain Machine), polyrhythms (Durian Brothers/Don't DJ), psychedelic (Fuxa/Tomaga), balearic (Secret Circuit/The Naturals), drone (Abul Mogard/Matthewdavid) and ambient (pretty much the rest of the catalogue) has prevailed a meandering journey, with some surprises.

This continues with this 'archival' release of Brainwaltzera's Marzipan EP. As can occur in the nature of electronic music, the self-released 2016 original came and went in a blink. Hyped and sold out, soaring resale values testify a record successfully combining old and new, of known and unknowns, within a romanticised view of sound.

Organic, smart, melancholic, the deliberately mysterious nature of the artist fits. A life in movement, this music stands as testament. Freedom, a propensity to ignored complacency. 5 tracks become 4. A retro-futurist brain dance. Blurred, intelligent, trippy, deep, heady, all and more.

In a landscape increasingly dominated by surface-level sonics and a lack of true organic – man-made-machine-driven - sound, the newly found and London-based Gaia Tones project rises with an unforgiving grasp over the science of improvisation and mystery. Like a gust of wind from Mother Nature herself, the duo comprised of John Swing and David Soleil-Mon breathe a new, highly perceptible form of life into the UK’s long ‘dub and ‘bass’ dynasty.

Contrary to the consumer plastics found across much of the ‘digital’ musical spectrum, the two artists impose their own vision and aesthetic to a framework of sound that has somehow always existed but never fully explored before. Heady, stoned-out and surely emanating from physical matter, their two debut tracks are set to redefine the standards going into the next decade.

The A-side “Lychees”, stutters its own brand of dread paranoia over a sea of complex, morphing percussion that together create a whole new palette of exploratory sound, loosely tied up into a hazy, nomadic groove. On the flip, “Wonkadonk” feels like its natural extension, evolving that familiarly off-kilter assembly of drums to work around a devotedly dystopian swell of bass that pushes further and further out into the ether.

In the end, the universe tends to unfold as it should.

Label artwork by Egidio Sterpa

A cryptical presence hiding behind many different aliases spread across a range of underground labels: co-owner of LiveJam Records alongside EMG, John Swing begins producing with a live and spontaneous approach that pushes the boundaries and general conceptions of club music while digging deeper into the techniques of the past.

The production process through ananlog equipment that John Swing so strongly supports with an uncompromising attitude is the key to his underground success and esteem.
With a back catalogue of over seventy releases including collaborations with established artists such as Mr. G and Ben Sims, the London based talent has been receiving recognition by established artists including Floating Points, Gerd Janson, Levon Vincent, Theo Parrish and many others.

Inspired by London's Plastic People and it's bonding vibes, through a well refined spectrum of musical knowledge John Swing engages with the dance floor in a physical yet emotional way: the strength and power of pure house is blended with black soul music in a constant crossover between underground aesthetics and cherry-picked funk and disco. His subtle understanding of the dance floor guarantees a deep-rooted experience for the mind, body and soul.

More emissions land from Radioactive Man’s sessions at Curve Pusher studios on Asking for Trouble this summer. This time it features a new collaboration with Ara-u - friend and a figure whose heritage lies in the rave community of 90s Venezuela. Started in Hackney and finished in Hastings, on Plastic Attack the pair present a four track selection of raw analogue machine funk from the bunker for the warehouse floor.

The Hivern split series was born as a platform for those club tracks that don't need of a broader ecosystem to fully express themselves. But also as a way of generating a sort of unplanned dialogue between artists in the label's orbit, connecting the dots amid them in spontaneous and almost unconscious ways. The new installment of the series is a good example of the latter. When John Talabot and Khidja made their respective tracks they probably didn't had each other's work in mind. But in many ways 'Immediate Crash Alert' and 'M?quinas Maravillosas' inhabit in the same sonic world. Both tracks have slowish tempos, are built around obsessive motifs and make an outlandish use of delays. But, maybe more significantly, they both share the same kind of vibe. An unsettling and menacing atmosphere, fruit of masterful exercises on tension building, that seems tailored for those early moments in a set when you feel the need to rise the pressure without causing too much of a blast. With all, both tracks are prime examples that's there's space for functional tracks away from the most obvious paths. And that's the ultimate purpose of the series. The Hivern split series is vinyl-only and its visual concept has been developed by London-based design studio DR.ME.

SFV Acid takes you on a tour of Trillium Towers, a defunct business district located in Woodland Hills California.

Epic Club Machine !
80s EBM mexican band Interface went digged, contacted, then re-edited by Sneaker Dj.
The unique slow industrial marchs signed Raw Ambassador strike again.
Rawmance: 3AM when the walls sweat. Addictive dance.
Dutch master Das Ding hosted here with a progressive storm, rougher than ever.

Smells of heavy rotation..

Radio Mars is happy to announce the next release
RM005 : Deemphasis – Reflections Ep
This Ep is particular, it represents the very essence of the Electro style, minimal beats, Robotic voices, melody and a destructive groove….

Deemphasis is a producer specializing in electro, acid and vocoder.
Originally from northern france, deemphasis was influenced in the late 80s by german, english, detroit and belgian techno sounds. in the 90s, he is very involved in the “demoscene” and uses “sound-tracker” to make music. Nowadays, he always uses the same approach. it was at this time that he settled in clermont-ferrand, in the early 2000s, he began to do some concerts and he turned gradually to electro.

In 2010, deemphasis released its first 12 “ep” synthetic cells “on the umwelt label, newflesh records. Then, several ep and his famous album “mechanical beats” on ukonx recordings.

In this ep, deemphasis explores some of the feelings one can encounter in a post-apocalyptic world. The opening title “my empire” is clearly oriented towards the dance floor and features a surviving robotic voice in a hostile environment. An acid base consolidates the melancholy atmosphere. The remix of “my empire” by the french producer “the observer” is a journey with some hypnotizing effects, deep experience and ongoing melodies take will take you to a different dimension, sounds rythmic, mysterious and variable… this remix are like a poetical description of some non-human race or nature of another dimension….

The b side begins with the track “obsession”, presenting a long journey in the darkness. The mechanical rhythm sounds like a dehumanized factory fighting against continuous pressure. The ep ends with a touch of hope, looking for a « rebirth », contemplating the galaxy full of stars.

Pre-Order. Releases June 21.

Unsurprisingly for a creator as prolific as Muslimgauze’s Bryn Jones was, when he was asked for a contribution for any sort of group project, he would tend to provide more options than necessary. In the case of longtime label Staalplaat’s 1996 compilation Sonderangebot, where Jones would find himself in the company of everyone from Charlemagne Palestine to Reptilicus, the selected track was the characteristically headspinning “Kaliskinazure”, nine minutes of insistent digital percussion bouncing the listener back and forth between samples of wailing women’s voices and a trebly, blurry little whirr that traces the percussion. It’s distinctive enough even among the vast Muslimgauze corpus, but as the continued excavation of DATs Jones submitted to his labels continues, sure enough there’s more to that track’s story, too.

An extended “Kaliskinazure” makes up the second of four tracks on Babylon Is Iraq, although it’s been lost to the mists of time whether an outside editor excised the more drifting, less needling coda that makes up the extra six minutes found here, or whether Jones simply submitted both versions of the track at different times. This more complete version of “Kaliskinazure” is surrounded by shorter tracks, with the opening “Kaliskinazure — Momada” sounding not very much like either track it references (instead being a barely-there wisp of far-away sampled wind instruments and what sounds like treated cymbal sounds) and the title track constantly coming to a full, roiling digital boil. The lengthy “Momada” closes out the album with a different, more tersely internal arrangement surrounding the same percussion pattern that will be familiar to any Sonderangebot fans, although the way the quieter atmosphere transforms the feeling of that rhythm indicates once more than Jones’ way of reconfiguring his pieces over and over was perhaps more purposive and even more effective than he’s sometimes given credit for. The result is a fascinating expansion on one of Muslimgauze’s strongest stand-alone moments.

When A&R get an email from a legend saying 'listen to these tracks, I think they're up your street' we knew we were on to something special.



Please welcome Biochip with their debut release 'Synthase'. Eight tracks of analog electro and acid techno, all recorded live. Very much of the Selected Ambient Works Vol. 1 ilk. Beautifully noisy, highly melodic and raw, with those emotional mid nineties IDM tendencies that very few successfully capture.

Biochip are Melissa Speirs and Julian Kochanowski from Montreal, Canada. Listening to Synthase you can tell they are huge fans of vintage analogue synths, magnetic tape and drum machines; their sound has a reassuring warmth and human feel to it.

We already can't wait to hear their next live sessions.

Clark revs up the first Throttle Records release with E.C.S.T. T.R.A.X., a double A-side 12” that finds him colliding music from centuries past with sounds from the future. Both tracks open the door wide to echo new modes of production for Clark by joining the dots between two great forms of the avant-garde: Rave and Musique concrète.

Kicking off with Harpsichord Ecst, a track that bestows the original rave hoovers, Clark shoots off a frenetic, rapid-fire outburst that’s driven by the instrument, forging a sound that is characterized as anything other than Clark music. Its peak time 'ed rush is perfectly framed by the use of Clark’s own vocals, which are reminiscent of both Meredith Monk’s ‘Vessel Suite’ and Arthur Russell. Perfectly pitching it, our man explains, “It could sound prancingly medieval, but I kind of took a blow torch to it, and made it something totally different”.

Piano Ecst meanwhile sets out to search and destroy piano hardcore, built around a single broken chord, weaved into a stroboscopic digital tapestry of flute flutters, tuned sirens, whirrs and jitters. Although inspired as much by classical/orchestral and avant garde greats, as dance music, the titles multiple meanings nod to Clark’s foundation in and continued love for rave culture, but also to far older forms of revelry, and a church-like atmosphere of religious rapture, which is clearly audible in these ecclesiastic style pieces.

This fully fired up, within the abstract, effervescent, yet psychedelic electronic sound makes it clear that Throttle Records is a sure-fire one to watch...

The collaboration between influential German artists Klaus Schulze and Pete Namlook led to the famous The Dark Side of the Moog series. The fifth volume in the series consists of the song “Psychedelic Brunch”, split into 8 parts. It’s one of the calmer albums, featuring Bill Laswell as an extra composer. It starts with a 14-second intro by the master, Robert Moog, himself. The sound design is amazing and offers everything from ambience, atmospheres and sequences. The mellotron and psychedelic parts showing the different perceptions of the composers.

The pioneering composer Klaus Schulze created over 60 albums during his career, which started back in 1969. Pete Namlook is another German composer, who played an important role in the increasing popularity of electronic music.

Distorted Sensory Perception is a platform showcasing honest, forward thinking sonics. Hailing its roots in weird, wonderful analogue techno, electro and progressive forms of electronic music that have something real to say. DSP's first transmission is a 5 track Various Artist release. An emotive electro EP Varying in speed, mood and style. Featuring tracks from Gilbert, Mindless Evolving Objects, Datawave, Zobol & Nikolay Sunak.

Tunes don't really comes as influential or groundbreaking as Cybotron's seminal "Clear", one of Juan Atkins first foray into producing from 1983 which laid the blueprint for electro and many others to come. Rarer than hens teeth on 7", here is a full digitally remastered version, complete with the debut "Alleys Of Your Mind" from 1981 on the B side. Limited edition.

French poet and ASMR auteur Félicia Atkinson has frequently fixated on the elusive interwoven relationship between microcosms and macrocosms – how even the quietest creative act ripples outward in unforeseen ways, a whisper with no fixed meaning. Her latest work pursues this notion in a more literal and lasting fashion, as it was crafted while pregnant on tour, in impersonal hotel rooms in foreign cities. She describes it as “a record not about being pregnant but a record made with pregnancy.” Each day and night, finding herself far from home, she asked herself “What am I doing here? How can I connect myself to the world?” The answer gradually revealed itself: “With small gestures: recording my voice, recording birds, a simple melody.”



In truth there is nothing simple about The Flower & The Vessel. The album’s 11 songs span a vast pantheon of whispering textures, opaque moods, and surreal spoken word, leading the listener through a mirrored hall of beguiling mirages. Atkinson cites a trio of French classical compositions from her childhood as formative influences on this particular collection: Maurice Ravel’s “L’enfant et les sortilèges” (“a scary opera for kids”), Debussy’s “La Mer” (for its union of narration and music) and Erik Satie’s “Gymnopédies” (as an exercise in negative space, irony without cynicism, and “melody with doubt”). There’s certainly a shade of classicism woven within these tracks, however veiled, abstracted, or unorthodox. Melancholic piano motifs repeat then retreat into a radiant frost of shivering frequencies; processed voices recite cut-up poems and interviews over delay-refracted Rhodes and Wurlitzer; iPad gamelan patterns flutter from meditative to melancholic and back again, offset by pointillist patches of delicate software synesthesia.



Although much of Atkinson’s past discography is shaped by speech and the lyricism of language, The Flower & The Vessel ventures farther into silence, absence, and voiceless wilderness. Among her sources of inspiration were “women who wonder, dream, and create vacant spaces in their art,” as well as Ikebana flower arrangements, which reflect her own relationship with listening: “structure combined with everyday noises, selecting them to make a sparse music bouquet.” Field recordings from Tasmania and the Mojave Desert murmur beneath hushed reverberations of gong, vibraphone, marimba, softly processed into an elegant emptiness, alternately eerie and serene.

Her mode of minimalism has long been one of reduction, riddles, and curation, but here Atkinson’s synergy feels close to apotheosis, emotive but ambivalent, a ceremony of expectation and invisible forces. The 19-minute closing collaboration with SUNN O))) guitarist Stephen O’Malley, “Des Pierres,” is one of the album’s few pieces tracked in a proper studio (Music Unit in Montreuil, France) but it broods and burns with the same subliminal majesty as the rest of The Flower & The Vessel: an ember in amber, seeds planted in shifting sands. Atkinson’s voice flickers like a flame, framed by slabs of shadowy feedback. Her process may be personal is but its impact ripples to the edges of existence: “How does the act of creation connect us, not only to history, but to the cosmic? It’s a process of taking, and then giving back. It makes us belong to the world.”

The Flower and The Vessel features original artwork by Julien Carreyn, and is mastered by Rashad Becker at D+M

Les Points Pay A Twisted Homage To The Early Foundations Of Electronic Music Where Hard To Get Tapes, Dystopia And The Sound Of The Wretched Worker Where Present In Genres Like Post-punk, Industrial, Minimal Synth, New Beat And Wave.

It's changing, the worker searched for post-leftist solutions and got lost.
Nine circles applauded the proletariat and imagined how a community
could be congregated, while screams of violence would be filtered by boiling blood.
Exploiters of labor either find themselves rotting away in a never ending icy rain or are dragging their selfish accumulations on their chests for eternity - while the worker slowly identifies himself as a counter-commodity. Algorhythms (fraud) always mislead - once the worker gets past them only Dis will be awaiting her/him.

Low-key Bristol legend Lurka lands on Wisdom Teeth with three cuts of hybrid, rough-kneck beat science. First gaining a name releasing percussive dubstep on the era-defining label Black Box, his sound has developed and individuated dramatically over the years, leading him to release on a clutch of Bristol’s best: Hotline Recordings, Black Acre and, most recently, Timedance. The title track here is quintessential Lurka, sitting somewhere between hip-hop, dancehall and techstep, and hitting like a dream collab between Timbaland and Dillinja. It’s a unique sound that he first aired back in 2013 with the essential ‘Full Clip / BR Greaze’ 12” on Hotline Recordings, and to this day nobody has come close to biting it. On the flip we find him working with clubbier beat patterns. ‘Plenty’ revolves around a rich, undulating melody, underpinned by thundering kicks and rolling UK Funky snares. Finishing off, ‘Bodied’ marries woody snares and dubby UKG chords with a gnarly jump-up bassline and scratch FX.

River Rapid is the new label from acclaimed DJ Eclair Fifi. Known for her tastemaking dj sets steeped in upcoming exclusives and unknown rarities as well as her essential monthly radio show on NTS it seemed only right that she should start her own imprint.

The first release features 4 brand new tracks by Afrodeutsche AKA Henrietta Smith-Rolla . Building on the sound established on her 2018 Debut “Break What You Make” on the legendary SKAM label - these raw hardware driven tracks evoke classic Rephlex in the same breath as Underground Resistance. Respectful to the originators whilst keeping an eye firmly on the future.

Supported by festival performances at SONAR Barcelona, Dekmantel and Dimensions amongst others this summer as well as opening for Aphex Twin at Red Bull Music Festival in September.

Carlo Onda vinyl debut represents the Neue Deutsche Welle reinterpretation as it must. Truly vanguard and fresh minimal synth and perfect Germanic vocals that transport us to splendor days of Grauzone, DAF, Joachim Witt or Robert Görl. All tracks have been specially remastered for long cut vinyl by Eric Van Wonterghem at Prodam Berlin.

This summer, Samuel van Dijk (also known as Mohlao and VC-118A) takes up his Multicast Dynamics alias for his fifth album on Denovali. Once again this storytelling artist sets out to remove you from reality and sink you deep into his Lost World. You arrive long after humans have left, but why? That is for you to find out. Multicast Dynamics albums are always absorbing and journeying affairs that are as immersive as a film or evocative as an audio book. Since 2015, long players like Aquatic System, Outer Envelopes and Continental Ruins have explored forgotten utopias and unexplored oceanic abysses with a documentary maker’s attention to detail and narrative, and Lost World continues in this fine tradition. This is a mysterious album that wants you to engage not only with the music, but with what it means. Where it takes you. What happened before it started and what will happen long after it ends. How did you get here? Where will you go? Listening to it is like tuning into a world that already exists, somewhere, like some distant sci-fi reality turned underwater ruin that has a million stories to tell if only you can find them. It’s an isolated world that is somehow alive with microbial life, crumbling architecture and radioactive energy that leaves you with a thousand questions as you descend ever deeper in search of some form of truth. Track titles are subtle signposts along the way, while the music is like sonic poetry: expressive and beautiful, yet open to wide interpretation and always rather mysterious. It is music that fits perfectly with our visual world in the way the artist places sounds in specific places in the sonic field. You are the central character as the action moves, pans and unfolds around you in a 360 degree spatial field rather than on a linear plane. Lost World, then, is a voyage to a distant reality that awaits your own endless exploration.

Meanwhile in the Blast Office, Party Nails have been cooking straight bangers for bent dancefloors.

Four more heaters to test your meters.
Following an inclusion for PN001 in DJ Boring's Phonica top 10 for 2018 the duo gave up their day jobs to pursue their dream of full-time idiocy.

Please buy this record. The kids still need wine.

DON'T ASK WHY - JUST BANG THE NAILS

SHELVED RECORDINGS 2.2

The second part of the two part set from SHELVED RECORDINGS !

Returning to a brief but very fruitful period in electronic music production, Shelved Recordings exists to look back to the golden age of the remix, with a clear view of the future it imagined.

Artists who were steered towards maverick producers, with a view to changing the rules, to re-defining the terms of what modern music should and could be.
Pioneering techniques, over-dubs and an exploratory period of pop production, resulted in many lost dub versions and mixes. Mixes, which invariably were left on the shelf, deemed too 'out there' by the bosses of the the hedonistic label managers who commissioned them.

Carefully reconstructed and rebuilt lost classics from someone who was there the first time around !








One limited vinyl press only

* Seasoned Shogun duo Technimatic are proud to celebrate 10 years working together with the release of their 3rd studio LP ‘Through The Hours’. Born of time spent behind the boards, on the decks and travelling the world honing their craft, this is their most profound work to date.

* Their first single ‘Sometimes’, ‘Goodbye Kiss’ and ‘All Our Yesterdays’ are loaded with floor filling nostalgia while the tempo changes of ‘Recurring Dream’ and stand out ‘Resolution’ are thrilling explorations away from the pair’s trademark liquid sound.

* Technimatic fans will rejoice at the sight of previous collaborators appearing. Jono McCleery’s devastating ability shines on ‘The Nightfall’, while ‘Weightless’ ft Lucy Kitchen is vintage, sublime drum and bass. Matt Wilson also joins the project as ‘Holding On’ finds its feet firmly on the dance floor revealing a fresh side to their production skills. Just looking at the three vocal tracks highlights the passage of time in the Technimatic sound, seamlessly manoeuvring from classic to current.

* The grit and swagger of ‘True Believer’ matched with the hypnotic lull of ‘Let It Fall’ give the album a conscious edge to satisfy all tastes.

* ‘Through The Hours’ moves harmoniously through sonic timelines appealing to both new and old school heads simultaneously. Lastly and most importantly, the music is fantastic. The Technimatic sound is as rustic as it is contemporary and after some time away, it’s clearly well worth the wait.

Using a plethora of custom made diy gear (from the Lab's of Michigan SynthWorks), as well as vintage/New gadgets from Roland. The Acid Jakal Delivers a solid e.p. for true electronic music intellectualists, dance floor heathen's, robot's & purist's alike.

In heavy rotation for Dj's such as Benji B, Luke Hess, Will Web, Dj Roach, Mr.Blaq,

No repress white label only.
Add more spirit to your life... Dance Sacred.

We're excited to be joined by one of the most versatile and knowledgeable DJ producers on the planet. Hailing from Chicago, Chrissy's expertise knows no bounds and stylistically there's few hats he won't don, with productions appearing on labels as diverse as Planet Mu, Classic and Hypercolour to name a few.

For his debut on Super Rhythm Trax his wings remain characteristically unclipped as the tone veers from the massive Acid wall of 'Truth Bomb' (built upon an acappella from a house legend) through the ghostly dubbed out 'Stumble' to the anthemic house of 'We're Movin' before finally resting on the 21st century New Beat of '24 Hour Puppy People' .

'Truth Bomb' is exclusive to the Vinyl only. Digital versions will contain a version with different vocals.

Deep-frozen for many decades, something is on the verge of being released from obscurity. Dark Star is the project of Wolfgang Reffert (Ger). In the late '80s through the early '90s he released a couple of albums that invoke the darkness of infinite space. Clearly influenced by '60s and '70s sci-fi, the mechanical grooves and spiraling synths bring to mind the worlds of Alien, The Forbidden Planet and Solaris.

Utilizing a less is more aesthetic, Dark Star breathtakingly soundtracked space travel to far away galaxies like no other. Rhythmic postpunk drums lay the foundation for slow, down-tuned spacerock that goes deep into industrial proto-techno-like territory, while always maintaining a sense of groove.

Resurrected from the days of yesteryear, Dark Star once again re-imagines the eternal harshness and emptiness surrounding spaceship Earth. Cyborgs, extraterrestrials and genetically modified creatures rejoice on the dancefoor!

This is a collection of Dark Star’s best material. Originally released on two cassettes and one CD. Mastered by Wouter Brandenburg. Photography by Rogier Houwen. Poetry by Alex Deforce.

Debuting on the freshly-minted Mad Habitat imprint, Greville’s EP is a bifurcated effort split between tranquil ambience, and hazy couch-locked house, with influences of each bleeding through and influencing each work in a stylistic osmosis. The sound palette blends crystalline synth patches, mimetic foley and field recordings in a playful spectrum of realism and synthesis; borne from the duality of always wanting to be in the studio while dreaming of the natural world outside it.

Originally self-released in 1985 for Sterile Records, 'SOLAR' is the Nocturnal Emission's most successful album ever. The release is marking the end of a period of more "conventional" songwriting and instrument use for Nocturnal Emissions.

The first couple of albums were brooding, bleak affairs that called to mind a more sedate version of SPK. Then came a few albums that were firmly song-dominated. 'SOLAR' was the last of the bunch, and was the most explicitly "message"-oriented and political.

"Songs of Love and Revolution" was a big step forward for the band, having a full colour cover and turning the NE sound further towards electronic pop music. Classics such as "No Sacrifice" and "Never give up" have made this an essential album for every fan of electronic music.

As Nigel himself reminds, they were buying lots of equipment at the time and seemed to have naturally acquired some skill over the years so they thought, ‘Let’s make some pop music.' He continues: "The Miners’ Strike was on and there were riots down our street in Brixton. I was convinced there was going to be a revolution. But it would probably have been quite unpleasant. All these old punks and hippies preaching revolution, I don’t think we were really prepared to live with the consequences. If we actually had a revolution in this country, it would be like Iraq or something, or Syria. But we were having horrible times with Thatcher. All we could do in that sort of milieu was imagine what the alternative would be like."

Pale Bloom finds Sarah Davachi coming full circle. After abandoning the piano studies of her youth for a series of albums utilizing everything from pipe and reed organs to analog synthesizers, this prolific Los Angeles-based composer returns to her first instrument for a radiant work of quiet minimalism and poetic rumination.

Recorded at Berkeley, California's famed Fantasy Studios, Pale Bloom is comprised of two delicately-arranged sides. The first – a three-part suite where Davachi's piano acts as conjurer, beckoning Hammond organ and stirring countertenor into a patiently unfolding congress – recalls Eduard Artemiev's majestic soundtrack for Andrei Tarkovsky's Solaris. "Perfumes I-III" employs the harmonically rich music of Bach as a springboard for abstract, solemn pieces that sound as haunted as they are dreamlike.

While the first half of Pale Bloom showcases Davachi's latent Romanticism, the sidelong "If It Pleased Me To Appear To You Wrapped In This Drapery" reveals the Mills College graduate's affinity for the work of avant-garde composers La Monte Young and Eliane Radigue. Softly vibrating strings rise and fall like complementary exhalations of breath. As the fluctuating pitches create overtones that pitter and pulse, the piece slowly and subtly evolves – suggesting a well-tempered stillness, yet without stasis.

After his debut in 2014 in a compilation for the thirtieth anniversary of “Madrid City Breaker” in which appear illustrious producers from the electro scene as ERP, Luke Eargoggle and Boris Divider among others Gladio Operations launches its first EP with “Flight to Anywhere” produced by the duo from Madrid UHF also owners of the label along with Luis Elesox.

This first reference includes three original cuts, with a mix of tunes that range from cosmic-atmospheric as “Flight to Anywhere” to raw and acid from “Reality” and “Inner Flight” a cut with a touch of IDM with well molded and surrounding textures. The pack concludes with an excellent remix from the classic English producer Scape One who adds a simple and elegant twist to the original track.

With the debut release selling out in a matter of days and a repress already flying off the shelves, Rhythm Section International present their second offering in the form of a Remix EP, with reworks of Al Dobson Jr. by Polish rising stars Ptaki and Manchester mainstay Ruf Dug.

Eschewing the typical notions of a remix package, Rhythm Section International offers up 2 new tracks that didn't appear on Rye Lane volume one, accompanied by 2 strikingly imaginative remixes.

On the A side the Polish duo of Jaromir Kaminski & Bartosz Kruczynski take Al Dobson Jr's tribal tom-tom rhythm and extend it into a sprawling disco epic, adding catchy keys and sensuous vocals that aim to tease the most reluctant of movers onto the dance-floor.

Ruf Dug's rework, named ' Ruffy's 3am Canavan's Special' takes inspiration from one of many hazy late night sessions at the infamous Peckham pool hall that is home to Rhythm Section. Ruf Dug, a Rhythm Section favourite and huge admirer of Dobson's beats, takes the gentle guitar strokes of the original and morphs them into metallic stabs, layered over an aggressive squelchy bass sound and sharp phasing hi-hats. This mantra is built upon in an effortless style typical of the Mancunian producer and is as catchy as it is hypnotic.

All Artists on this release have played at Rhythm Section at least once and they now join the ever growing roster of RS artists, which is set to expand exponentially as we step into 2015. This is one label worth keeping an eye on...and if we can judge anything from the previous release then take notice when we say DON'T SLEEP!

London's elusive Lukid has never been one for convention. In the few short years between 2007-2012, he struck out on a seemingly effortlessly impeccable run of releases on fellow iconoclast Darren 'Actress' Cunningham's mighty Werkdiscs imprint, as well as his own label Glum. Those albums and EPs flaunted genre distinctions and embraced a freewheeling approach to melody, rhythm and atmosphere that felt at once exotically psychotropic and yet grounded in a resolutely english eccentricity. Thus, they feel like especially-prescient recent classics that continue to find new fans.

In the intervening years, Lukid's energy has been poured into his stunning monthly transmissions on NTS while his output has been sparse aside from a pair of mindbending EPs via Liberation Technologies and Glum, respectively. Those radio sets serve as a telling blueprint for his contribution to the ongoing Arcola project. From low slung Memphis rap mixtape cuts to clattering industrial cassette rarities, turbulent grime and outsider synth hallucinations there is a warped palette that comes vibrantly alive across the four included tracks here. The stormy bump and spectral melancholy of 'The Drip' and 'Clappers' seems to wed them together as thematic bedfellows across both sides of the EP while 'Head Shrinker' tries to squeeze an overcast psych-pop opus out of a rack of malfunctioning hardware. Spit out the other side of this ride you exit to the chopped-and-screwed goth grime of 'Conked Out', having had your brain smeared with the uniquely viscous ectoplasm that only Lukid can excrete. Perfectly slimy.

Private Lesson: Project from Los Angeles comprised of

Damon Palermo (Damon Eliza Palermo, Magic Touch)
Nick Malkin (Nick Malkin, Afterhours, Post Geography, La Vampires, Sun Araw)

Featuring contributions from

Vocals/Lyrics: Takako Minekawa
Production/Mix: Sam Eaton
Master: Gabriel Schuman

Part One Of A Three Volume Compilation Project By Tunisian Collective Arabstazy, Establishing A Picture Of The Contemporary Electronic Music Scene In The Arab World. This Musical Journey Stands For The Diversity Of This Scene, And Deconstructs The Occidental Perceptions That Sees The Arab World As A Culturally United And Homogeneous Entity. It Is A Manifesto For The Burgeoning Wave Of Post-revolution Futurism.
Arabstazy Is A Multidisciplinary Artistic Platform With Bases In Tunis, Paris And Berlin. It Is Dedicated To The Research Of The Connection Between Heritage, Identity, Culture And Digital Arts. Founded As A Collective By Tunisian Electronic Musician Mettani, It Has Since Then Relentlessly Questioned The Meaning And Relevance Of The Supposed Arabic Unity. Following The Arab Spring Events That Brought A Major Change To The Maghrebi Cultural And Artistic Ecosystem, The Collective Explores How The Arab World Is Perceived And Perceives Itself, And Lays The Foundations Of What Could Be Part Of A New Wave Of North African And Middle Eastern Futurism.

Arabstazy's Vision Is To Create An Autonomous And Singular Form Of Mindset, That Is Aware Of Its Representations. An Identity Quest Immersing Its Roots Into The Future, While Highlighting And Transmuting Its Traditions. This Mindset Is To Evolve Into A New Artistic Language, That Would Have Been Released From The Colonialist And Orientalist Perspectives. A Process That Will Eventually Focus On The Interactions And Connections Rather Than Shape Or Style. With This Objective In Mind, The Idea Of A Musical Compilation Emerged. It Would Be The Assessment Of How Diverse, Shattered And Intricate The Arab World Actually Is. Paradoxically, It Would Be The Cement Of An Independent Arabic Underground Electronic Scene. A Scene That Doesn't Need Common Aesthetics Nor Similar Codes To Build A Sense Of Belonging, Because That Belonging Eventually Relies On The Similarities Found In The Constant Struggle From Which The Creative Process Arise. In The Frame Of Political, Social And Religious Dictatorships, This Is A Creative Process That Is Born Under Frustration.

Following This Artistic Direction, The Collective Gathered Tracks From Various Artists That Connected In Their Own Way To The Concept Of Frustration Constrained Creation. With No Imposed Genre And The Strong Will To Build A Mosaic Heterogeneous Project, The Compilation Eventually Featured Tracks Ranging From Indie To Idm To Club Music To Abstract Noise. This Is Quite An Unsettling Tracklisting For Those Who Were Expecting The Usual Oriental Electronic Bland Cliche´. This Process Eventually Echoed With The Work Of Parisian Label Infine´. Infine´ Defines Itself As A Space Of Diversity, Away From Any Kind Of Genre Or Ethnic Compartmentalization. Since A Dozen Years, It Has Developed These Values Through Several Projects, Including The Compilation Series « Explorer ». Through This Compilation, They Discovered One Of Their Latest Revelations, Deena Abdelwahed. She Herself Led To The Encounter With The Arabstazy Collective, And The Label Found Much Sense In Supporting The Under Frustration Project, In Professional, Political And Spiritual Ways.The First Volume Pays Special Attention To Tunisia And Egypt, With A Touch Of Paris & Berlin. Alexandrian Band the Triangle, Releasing Their Very First Track, Dramatically Opens The First Side With A Song Evoking War Refugees That Have No Choice But To Abandon Their Homes And Risk Their Lives On Makeshift Boats. ismael, Member Of The Kairo Is Koming Collective, Comes Right After With A Cranky, Cracked Batch Of Grimly Forward Club Music. He Is Immediately Followed By shinigami San, Founder Of The Tunisian Collective World Full Of Bass, With A Metaphorical Experimentation Depicting How A Fragile Melody Can Arise Despite Of Being Crushed By A Brutal Rhythm. Then Comes Mettani, Founder Of The Arabstazy Collective, Showcasing Esoteric And Syncretic Aesthetics, Blending Sacred Church Choirs And Muslim Awakening Call Into Industrial Grooves. Paris-based Artist terra Aziz Closes This First Side With An Very Introspective And Esoteric Track Evoking Iranian Leper Kids. Second Side Starts With muudra, A Moniker For An Artist Who Keeps Himself Anonymous And Connects To Kurdish Culture. His Track's Hypnotic, Mantra-like Beats, Combined With Cinematic Soundscapes, Reflects On The Hemshin Tribes Vibes. Then Comes deena Abdelwahed, With A Very Early Work She Composed While She Was Touring With The Arabstazy Collective. tropikal Camel, Berlin-based Composer And Mc Born And Raised In Jerusalem, Then Seizes The Scene With An Apocalyptic Track Picturing A Hopeless Prophet Whose Heart Is Made Of Smoke. Relief Comes With Beirut-based Egyptian Artist aya Metwalli, Who Offers A Touching Song About Love And Mourning. This First Volume Ends With A Poetic And Abstract Soundwork By Tunisian Artist mash, Releasing Her Very First Piece, Closing The Record Like It Opened. The Spectrum Of The Questions That This Peculiar Theme Arise Is Broad: Personal, Political, Sexual, Religious, Familial, Societal... From Ways To Free Ourselves From This Frustration, To Ways To Accept It As It Is. We Have To Deal With A Lot Of Mutual Misunderstandings, Binary Shortcuts And Manichaean Attitudes That Have Long Proven Unsuccessful To Overcome These Situations.Amongst All Who Experience Frustration, Some Will Cope Through Artistic Expression. We Decided To Relate To This Frustration As A Great Source Of Inspiration. Arabstazy Chose To Give All The Benefits Of This Project To The Lebanese Ngo Basmeh & Zeitooneh, And Most Specifically To Their Yearly Art Event - "seen" - Which Highlights Unseen Artists And Breaks Stereotypes About Refugees.

Burning Rose is proud to announce a repress of Buzz Kull’s 2017 LP, Chroma. The seminal album is a mass of jagged synth lines and pounding drum machines, a testament to Marc Dwyer's personal sonic exploration over time. Each song on Chroma transcends the traditional archetype of darkwave by pushing pop sensibilities, focusing on different emotional states and boundaries.

Since Chroma’s release, Dwyer has given the world a sophomore album, tackled multiple tours abroad, and continues to remain an elusive but omnipresent figurehead of darker electronics within his hometown of Sydney.

The second pressing of Chroma will be available on June 1st, to coincide with Buzz Kull’s European tour with Zanias.

After his first release on Soundtravels, the Aspiration EP ST003, Dircsen is back with another astonishing EP which you can easily call a sequel to Aspiration EP.

Four heavyweight dancefloor bombs with Dircsen's signature, well worked out, 303 basslines, accompanied by moody synths. Dircsens tracks are always built to perfection, distinguished and raw at the same time. Timeless tracks which will last a lifetime. Don't sleep on this one!

4 underwater trippers extracted from another planet featuring Konsistent, Second Life, Jack Patern & Andy Rantzen.