Beats News

Document One are very proud to unveil their debut self titled album. Over the years, Joe and Matt have had an illustrious production career dabbling in all flavours of underground dance music. Not deviating from D&B tempo, this album goes back to where they started while showcasing how far they’ve come.

"We’ve spent close to a decade working together as Document One within UK bass music. We’ve toured over 30 countries across 4 continents, we’ve watched so many of the musicians we admire perform and we’ve been exposed to so much culture along the way too. This album is a cross-section of who we are as musicians, as people and most importantly a duo.”

Georgian artist Sophia Saze releases her debut two-part album 'Self' on Francis Harris' Kingdoms imprint, with part one dropping on cassette this June. "The record embodies my story of duality within the context of identity, insomuch as the idea that every person has a deeper layer we don't show on the surface."
Born in Tbilisi, Sophia Saze is the daughter of political refugees who's spent her life living in numerous different countries before eventually finding home in Brooklyn. Finding it difficult to find her own identity due to living a nomadic lifestyle, the classically trained musician became entangled with electronic music before becoming a key player within New York's nightlife scene and launching her Dusk & Haze imprint in 2017.
A reflection of her struggles throughout life, 'Self' is very much a memoir of the many different places she's lived during her journey, including Georgia, Russia, USA, France and Canada. Contrasting to her recent productions, which are geared more towards the dancefloor, her debut longplayer is downtempo and features a medley of musical influences - mixed in two parts and released as a concept album on cassette. Maintaining a sonically raw feel throughout, 'Self' draws the analogy of analog to modern day digital culture whilst also taking a stance against perfection, whether integrating the distance crackle of her machines or intentional off-beat piano notes in minor. Part One was conceived, for the most part, during a sleepless yet inspired 48-hour studio session. Processed field recordings accompany samples from her childhood, such as soviet cartoons and intimate VHS recordings of her family. The result is a well-seasoned and personal story portrayed in fourteen tracks mixed together.
"I feel the element of patience is somewhat of a lost commodity in our generation, particularly for albums. We're consumed by track to track interpretations and constantly searching for the next instant stimulation. With this record, I wanted to reiterate the idea that if you don't have the willingness to sit through the whole thing, then you're not stepping into it with the right mindset to begin with."
Every artist who collaborated on the record is handpicked, such as vocalist Ricardo Rivera. The final production was also mixed by Francis Harris himself. All of their involvement means they share a fragment of the concept.

Pumping West Coast electro in a new jacket, with bouncing 808's, driving acid, and old school futuristic vocoders.. Kleptocracy's are taking over the planet and humans are getting entangled in their own web. We need some extraterrestrial help. In the Thee J Johanz remix a bunch of oversexed electro disco aliens are coming to save the planet by love and destruction. Justin Cudmore (Bunker NY) is taking it to a darker space in his more abstract and highly effective remix. Three massive 808 floor fillers!

On the A1 Chekov follows up their moves on Peach Discs and Timedance with a proper peak timer, they've been described by Ben UFO as 'king of the build up' and that's evident on this one. At the A2 London's Doppelate makes their Cong Burn debut with an elegant tech-house roller. Fresh from Russia's underground is Camin, on this, his debut 12" release he drops a useful tool which squeezes between electro and techno. Cong Burn founder Howes closes the B side with some warm hypnosis that could have landed in the golden era of Workshop.

The fifth release of the label returns us to the first compilation UNIVERSE.
This time in orbit you can hear (as in the first release) the French producer Umwelt with the apocalyptic doom core track ""Fallen Empire"". Also a collaboration of the Mosaique label owner Moralez and the legendary American EBM/ Hard Core artist The Horrorist. They were joined by a hypnotic composition from the Mannequin label owner Alessandro Adriani and accidentally surviving track (after the death of the artist's music storage) from Greek artist Morah, who's was released on Helena Hauf's label Return To Disorder. Vinyl only.
Mastered by Moralez at Dark Crusader Studio (Saint-Petersburg, Russia).

Dinosaur L is an alias donned by Arthur Russell, a man whose contribution to dance music from the late seventies and through the eighties was formidable but only quietly acknowledged. His innovative and left field dance records were way ahead of what people were used to hearing at the time. He was a cellist who studied classical and Indian music. As well as his great strides in dance music he was also involved in the New York downtown avant-garde music scene and produced some albums in a more avant-garde / experimental vein as well as trying his own unique approach to pop. He scored several hits on the underground New York dance scene at clubs like The Paradise Garage (Larry Levan was a huge supporter). His biggest tunes, 'Go Bang!' and 'Is It All Over My Face' were worldwide club hits and are still played today as classics. His records have influenced the scene from his first dance record in 1979 to the present day and his work has been much sampled. Sadly Arthur
died in 1992, but his music lives on and his influence is still felt on the dance music scene, his tunes still sound great and are still moving many dancers around the world, so his spirit lives on. Sleeping Bag Records and Traffic Entertainment Group is proud to present Dinosaur L's '24-24 Music' for the first time ever on double LP. Includes the original album tracklisting plus rare 12'remixes and edits.

Vinyl LP (incl. DL-Code) from an artist in their seventies, you probably wouldn't expect to hear an album like this.
But Brazilian drumming legend Ivan 'Mamão' Conti has been experimenting and innovating for the last half a century.
Take a bite of Mamão's psychoactive Papaya and join the maestro on a weird and wonderful stroll through the Brazilian jungle.

While being best known for creating deeply immersive live psychoacoustic experiences, the London based Pataphysical have allowed us to use 'Periphera', the fruits of their debut studio work, as the label's eighth musical oblation. It would have been an exercise in futility to try and replicate the immediacy of their live performances on this record, but we feel that across these 8 disparate tracks inner worlds have been rendered real. Through the careful positioning of field recordings and the creation of soundscapes somewhat reminiscent of heyday Mille Plateau the group have held fast to a desire to craft involved and captivating synthesis.

A joint release between Natural Sciences and FTP, Texas Terrotech volume 1 is a combination of hyper-frentic futurism with the gritty global sound of the streets, wherever it comes from. It's the pop music on the radio, combining that with innately adaptable, yet eminently absorbable form which evolved in these different little things, all compatible , yet closely related. When they are decoded from the genome of our global musical collective, their inter-relatedness becomes even more clear, and a new perspective can be gained.

The internet made everything smaller. It turned the territory into the map, destroying the physical borders between geography and genres, reducing it into digital code, breaking it into bite-sized bits. This is the sound of the phuture digesting the people.

This is the sound of the global underground

eudemonia presents a fresh EP by the always surprising Too Smooth Christ. Just in time for summer season the release showcases five playful and versatile tracks ranging from house and electro to ambient - each with their own distinctive character. Profits will be donated to Musicians Without Borders.

Church Marble 005 is upon us and it comes from Cape Town, courtesy of Biodive.

For their 5th release the London label born of the clubnight of the same name make a b-line straight for the dancefloor. The title track of Desert Sound Colony's latest EP is equal parts anthemic vocals, stabbing guitar lines and a motorik backbone which combining for a hefty slice of post-punk inspired dancefloor churn. Two B-sides take the themes found in Lose My Rhythm and head down the rabbit hole to drown you with a flurry of breaks led rhythms on Suffocation and put you to rest with the pitch black basslines of The Blacksmith.
On the remix front local hero Scott Fraser delivers an acid drenched expansion of the title track.

New release for La Beauté Du Négatif.

A various artists including the legendary Italian duo Monomorph (aka D'Arcangelo) with an epic & rare ambient track released only in cd in 1996 on an obscure compilation produced by the defunct italian label Disturbance Records . In A2, this 10th release features one of the most relevant electronic producer of the last years, the enigmatic Brainwaltzera. The flip side is very well populated too: welcome back The Jaffa Kid (one of the finest junglizer these days) , SSIEGE (pure esoteric ballad, divine!) & the label boss, Rawmance.

Italian producer Andrea Natale lands the debut iteration of his new project, Anna Funk Damage, which finds him engineering a playfully deviant assemblage of steely industrial percussiveness and gritty post-Freudian / libido-filled machine talk. Setting the tone straightaway, the A-side 'Here Right Now' goes straight for the jugular, blazing its way across a flaming hotchpotch of face-melting electronics as it blends exuberant bleeps and gut-churning drums on war-mongering mode for a sustained wrestle in the basement. Flip sides and the screwed-up eroticism of 'Click Facial' will grab you by the scruff of the neck to drive you amidst a filthy orgy of analogue distortions, X-rated samples and abstract modular implementations. Or simply imagine the result of recording David Lynch 'Eraserhead' over a static-filled vintage porn reel - it's just as spitting an image. Punishing hours in the pit ahead. Full transparent 8" sealed in beautiful half silver/half transparent sleeve. Ultra limited edition of 50 copies.

A machine mirage. A hallucinogenic haze. Where Moogs mimic animal noise. Sine waves and tribal toms send jungle signals. A twilight chorus in a forest of sound. Its deep, deep, blue canopy lit by shooting stars. Third eye lightening. Wildlife roar, and temple gong drone. A bubbling skunk Funk swamp where New Age meets Nuova Neapolitan Fusion. Tubular vibrations give rise to flights of birds. Bongos back Belleville, Michigan, relics. Bottomless bass exudes womb-like warmth. Drums dance in Nyabinghi ceremony, while gurus question God`s plan, and your place in it. Discuss the search for freedom, through spirituality, and drugs. Conclude that 'Freedom without balance is destruction'. This Cosmic chatter intro-ing beatless calm. A float on primordial ooze with John C. Lilly. States altered. Trance taking hold. Time a mere construct. Snake charmer melodies sing and tempt, hypnotic like Kaa. Shimmy to percussive sambas. Percussion hits resonate. Metallic gamelan smashing through Digidub. Ancestors calling through echo. Fragments ping-ponging, colliding. Into an eternal infinite. A post-Singularity fourth world. A post-Human Eden. Mechanized. Paradise reborn.

Karen Gwyer returns to Don't Be Afraid with her first new work since 2017's Rembo LP, which gained critical acclaim for its powerful body music and melancholic melody led pieces. Man On Mountain EP is a further evolvement of the duality and nuances in moods and emotions that make Gwyer's music so impactful. Resetting, rebuilding and subverting atmospheres and rhythms is a constant in her music and Gwyer builds on that more in this latest instalment.

The low swung weight of opener Faces On Ankles' bassline is full of suspense, alternating between rolling fluidity and unpredictable kick patterns, while a dubby melody dances alongside glossy, introspective arpeggios. The EP then weaves suddenly into cosmic drone that snarls with tension and desolation on Ian On Fire. You can sense contrasts between these two musical spaces – luscious, bouncing techno that nods directly to Gwyer's Midwest upbringing (Faces on Ankles, Cherries On Shoulders) and darker drone experiments where light peeks through the composition that adds balance to the mood, (Ian On Fire, Ribbon on Neck). Gwyer's music takes a different path with each record while holding onto elements of previous incarnations of her sound and Man On Mountain adds new dimensions to the bold and open minded spirit she embodies.

Mind Records and Spooky are proud to announce the official reissue of "Tapas", an indescribable and beautiful album by Sueño Sueño, a mysterious German duo from Mainz.

Little is known about this album, which was originally released on
cassette only in 1983 by Eduardo Van Kasteren (member of Van Kaye & Ignit) on his label Ding Dong Records.

What we do know is the arousing curiosity it triggers as it unfolds, it feels like a fantasy summer holiday in a dark metallic wintery world, as if somehow Mainz had become a Balearic island. Some comparisons can be made - Naffi Sandwich, Swamp Children, Maximum Joy, Young Marble Giants - but these, all lack the unique ice cold synthetic Latin sound of an imaginary German 80s tapas bar where "Sueno Sueno" all work.

This EP is based on 5 different structures of sequencer manipulations, as the cover art suggested. I made some prototype of sequencer module in Max/MSP, then organise them and forming interesting results, finally record them into the computer. Each of the sequencer are not only sending out pulses, but also changing control signals.

Originally released in 1985, "Saunetic Fraction" finally gets a reissue (limited to 100 copies), and staying true to the original, once again on tape! A collaboration of France's M.NOMIZED (aka Michel Madrange of No Unauthorized) and Belgium's UNOVIDUAL (aka Henk Wallays of Micrart Group / co-founder of the 3rio tape label with Magisch theater and Dirk Ivens of Absolute Body control) . The 18-track album is a diverse beast, but affirms itself among the grandees of Minimal Synth and Electropunk, whilst maintaining a unique twist. At times coming across as the French / Belgian version of Chris & Cosey, there are also elements of the early cut-up Dadaist experimental oddness of Cabaret Voltaire. A much sort after tape, that was originally released in a ludicrously small edition, on Unovidual's own label.

*Please not that the tracks: "Aerial Waves" + "My Geisha", do not appear on the cassette, due to side length issues.

MORE INFO:

M.NOMIZED: Synthesizers, Tapes, Treatments, Loops. / UNOVIDUAL: Synthesizers, Vocal, Drum Box.

Music composed and played by: M.Nomized & Unovidual. Thanks to Peter De Middeleir (Belgium) and Fraction Studio (France) for recordings. All rights reserved. P. 1985.

Greenlight by DJ Manny is the fifth release from TEKLIFE Records. This 10 trackLP is a masterclass in footwork production by one of TEKLIFE's leading figures. Born and raised in Harvey on the South-Side of Chicago, DJ Manny has been footworking since the age of ten. The Footwork sound has developed in unison with the dance style that accompanies it, and Manny embodies this synergy.DJ Manny is without doubt one of the best dancers on the scene, harnessing control, grace and power in every movement. So when he steps into the studio, he knows instinctively how to create tracks that make you want to move your feet.Instead of relying on chopped up samples, DJ Manny is more inclined to pickup the microphone himself, and this gives Greenlight an original and individual personality.On the opening track titled Way you Move, his flow is soulful and almost vergingon melodic. His laid back drawl sounds equally great on club bangers like Life in This Bitch and If U Want It. As a young man, DJ Manny was the protégé of the late great DJ Rashad, and Rashad's influence reverberates through classic - sounding footwork tracks like Boop Me Down and I'll Hurt Ya Baby.Elsewhere on Greenlight, DJ Manny explores different moods to great effect.Ghost Out is atmospheric and menacing, with a sparse, minimal rhythm and fearsome lowend pulsing through siren synths. Life In This Bitch is a defiant statement of self-affirmation, and Zancrash feat. DJ Taye is uplifting and dreamy,with complex rhythmic patterns evocative of vintage jungle records.DJ Taye makes a significant contribution to this record, collaborating with DJ Manny on 5 productions including the title track. A fellow TEKLIFE squad member, Taye is a highly accomplished producer in his own right, Expect to hear more from him very soon on HYPERDUB Records. Greenlight also features guest appearances from DJ Lucky, Gant-Man and Sucia.

Global Skywatch founder Furious Frank known best after a handful of releases on Vector Works, Ken Oath, Rhythm Works and most significantly on Melbourne's own signature Butter Sessions Records with a split EP alongside DJ Dogg (aka DJ Fettburger) in 2017 turns a new leaf this year with 3 more upcoming label debuts in 2019.

This year we see the Adelaide-turned-Melbourne resident further develop his signature moody, acid-laced soundscapes into a more considered, aged-like transcendence - Welcoming Furious Frank as our latest addition to Paper-Cuts with 5 hand selected works from 2017-2019 produced, recorded and arranged in bedroom studios across Adelaide & Melbourne, complete with full sleeve design from label curator Dylan Batelic, the two's collaboration sees the final product's full physical encompassment for this limited 12" release.

'Ambolley' fuses Highlife, disco and boogie sonics and features the anthemic club cut, 'Highlife'.. One of Gyedu's best!

Audiences will impose meaning as they see fit, relative to their own contexts, and the convergence of our emotional literacy can draw us to one another. In 2018, Ripperton gifted the ESP Institute with Sight Seeing, and we became tourists joining the artist's departure from the comforts of his known creative narratives, however, with his tender monument of devotion, Contrails, we now find ourselves blissfully lost in his code. These expansive 73 minutes are punctuated midway by a poignant solitary confession—
“I’m afraid of what I might find, but I’m even more afraid of not facing this fear. I love you. I love you more than my life.”—in accordance with the fundamentals of Minimalism, the vast negative space bookending these words undoubtedly amplifies their significance. “I’m afraid of what I might find…” Communication comes easy for some artists; the tools are obvious, logical and tangible, the dialogue is palatable and their art is often inoffensive. For others, there may be conflict, trauma or fear that result in pragmatic challenges—the tools feel foreign, deep complexities give way to creative paralysis, and communication struggles to find its form and emerge—the art becomes as much a therapeutic confessional as is a formal exercise.
“…But I’m even more afraid of not facing this fear…” Within the residue of the artist’s emotional labor, full of nuance, reservation and vulnerability, is potent code that can neither be taught nor learned, an elusive unknown whose shadows some spend a lifetime chasing, trying in vain to articulate or translate, often at their own peril.
“…I love you. I love you more than my life.” It’s this code that inexplicably tethers the soul to art—music being perhaps the most magnetic attractor of all—capable of true love upon first encounter. The blood flows like rapids, the hairs on the back of the neck stand erect, the heart surrenders absolutely to a romantic chemistry and a mutual bond is forged, a love to defend with vigor. We own the music and the music owns us. We are enamored, without words, simply head-over-heels.

Carl Finlow aka Silicon Scally, aka Random Factor amongst other aliases, released his first record on Warp in 1993. A prolific producer since then, he's delivered more than 100 releases including 11 albums on labels such as SCSI-AV, Soma and 2020 Vision. Now based in Toulouse, Finlow has showcased his extensive electro and house music performances in Japan, USA, Russia and Europe, including a stint at Sonar in Barcelona in 2000.

Finlow delivers his second E.P. on CPU entitled 'Cobalt Blue' a follow up to his 2018 E.P. 'Projections' This record picks up right where he left us last time; lush melodies with infectious grooves on top of his highly refined electro template.

Electronic duo Soft Error release their debut album Mechanism through Village Green. Recorded at Valgeir Sigurosson's renowned Greenhouse Studio in Reykjavik, Iceland.
Mechanism offers a fresh and singular brand of musical intrigue by reaching back and forward simultaneously - drawing from the innovative, propulsive thrum of 1970s Krautrock and the grainy textures and tonalities of the BBC Radiophonic Workshop on one hand, the symphonic, futuristic soundscapes of composers like Cliff Martinez, John Carpenter and Jon Hopkins on the other.

UNBREAKABLE

Sweat Equity is thrilled to present its first entry into the world of wax with XP, a powerful drop from Philadelphia’s DJ Delish. Spanning six tracks, the record is a striking introduction to a singular talent.

DJ Delish lives at the epicenter of East Coast club culture, having cut her teeth on the ballroom circuit as both a DJ and performer. Over the past few years, she’s also unleashed a string of self-released EPs and albums on her SoundCloud, as well as a split single with Sweat Equity’s Macy Rodman. XP marks her first outing on vinyl, and she pulls no punches.

The record is a rich landscape, flawlessly weaving between ballroom, hip-hop, ballads and house. Her command of multiple musical forms speaks to her time both in the booth and on the dancefloor. The vital energy of each track is matched only by the wit and incisiveness of her lyrics, with songs about everything from shady promoters to sexual intrigue. Her wealth of experience and abundant narrative ingenuity bring personal stories and intricate histories to life.

Following the success of 'Stellar Tunes', Italian maestro A Credible Eye Witness and his partner in crime Ghost Ride have returned into the studios to bring you this very special phenomenon. Top notch 'Random Research' introduces four tracks of pure electro madness, starting off with well named 'Synthesis', a fusion of both producers creative talent into one of a kind track that celebrates their immoderate taste for mind blowing electro modulations! Pounding 'Magnetic Force' offers a powerful electro monster based upon hammering beats and hypnotic vocals. A pure Dj tool, perfect to drop in the middle of set exactly when you want to lead your crowd into harder areas. Textured 'Metis' on the flipside continues where 'Magnetic Force' stopped to offer more psychedelic and urban melodies. Combined to a groovy bass line, the track appears to be a real winner while 'Leda' slows down the rhythm for more relaxing and no-nonsense electro tinted with acidic loops. The 'Random Research' EP sees two uncompromised artists explore uncharted territories, unusual dancefloor paths to take the listener to a higher level of electro. A must have 12'' ahead of its time, even better than 'Stellar Tunes'. Are you prepared enough for that

Rare sought-after future disco via Italy. Composed during the time when GIORGIO MORODER was creating DONNA SUMMER's "I FEEL LOVE" and FRANKIE KNUCKLES was making a name for himself at the WAREHOUSE. Limited import color vinyl. Don't sleep these will be gone fast.

Nyege Nyege Tapes’ revelatory 1st Singeli series culminates with a rush from scene bossman
Mohamed Hamza Ally aka Sisso, whose studio in Dar-Es-Salaam, Tanzania is the epicentre of the
world’s most thrilling, punkish new dance style
Arriving after incendiary instalments in 2018 by Bamba Pana, Jay Mitta, and Duke, and the
introductory ‘Sounds of Sisso’ compilation in 2017, the ‘Mateso’ album pulls focus back to the
scene’s lynchpin with 8 none-more-compelling cuts of breakneck loops and helter skelter riffs on
vinyl, supplemented by a tape with equally exhilarating bonus material awaiting quick clickers and
dancers.
The collected 16 tracks chronicle Sisso’s work over the past four years, spanning a period after his
informal studio in the sprawling ghettos of Dar-Es-Salaam grew from a small shack selling DVDs
and MP3s, to come to catalyse countless new releases from local producers such as Bamba Pana,
DJ Longo, and Balotelli, as well as a wave of new MC’s including Makavelli, Cad Reedah, Anti Virus,
Dogo Muchi, Dogo Mjanja, Rehema Tajiri, and Yung Yuda.
Sisso’s productions epitomise Singeli’s hyperlocal scenius, distilling the vitality and struggle
of life of the fringes of the Swahili-speaking world’s most populous city, into a unique music
which seems to reflect the idea of keeping a cool head in frenetic situations. Between his ratchet
rhythms and pitched-up melodies there’s a sublime, unresolved tension at play, where the music
feels to accelerate so fast that dancers are glyding, sustaining a breathlessly “up” effect that
uncannily recalls mid ‘90s UK Happy Hardcore as much as Chicago Footwork, Caribbean Soca and
Shangaan Disco, yet with a psychotomimetic appeal all of its own.
The tracks on ‘Mateso’ are no doubt some of Singeli’s most potently direct and crafty, circling
from proper knees-up whirligigs to hyper, laser-riffing funk, ecstatic choral cut-ups and hard but
super-sweet steppers that will spark off any up-for-it dance the world over.
•
Prime, DJ-ready Singeli from the scene’s Sisso Studios epicentre in
Dar-Es-Salaam, Tanzania
•
16 exclusive tracks spread over an LP and bonus cassette, digital
included
•
Essential picks for fans of new electronic dance music from East and
Central Africa
•
Mastered and cut by Matt Colton. Pressed on emerald green vinyl +
pro-dubbed tape
•
Resident Advisor’s recent feature on Singeli -
http://bit.ly/2WwxF9O
Promo Contact:
so

Echoes is the second album by the Ukrainian producer Cape Cod, released jointly by labels Vinyla Records & Kiev House.

Echoes is a comprehensive and multi-genre work in terms of sound and song creativity. On second album, dance music floats between genres, styles and mood from track to track, while Cape Cod skillfully waves the breakbeat, r'n'b of the new school, soul and hip hop into the tracks and brings his love to the disco house to the sound level.

Christian Marclay: turntables

Mats Gustafsson: live electronics & slide, tenor and baritone saxes

Recorded and mixed April 2006 by Christoffer Roth and Olof Madsen at Studio Dubois, Stockholm

Mastered by Martin Siewert

Record sleeve by Kim Hiorthøy

Mika Vainio left behind a lots of unfinished projects and unreleased music.

This archive series is presenting some pieces which can be considered as completed works.

The first volume comprise of two selections from the 48:22 long untitled recording Mika Vainio did as Ø for the radio project Ambient City at the Museum of Contemporary Art in Helsinki 1994.

LTD to 300 / SPLATTER VINYL. Planet Mu Recording artist, Gobstopper label boss, and Boxed club night founder Mr.Mitch provides the third PRESSURE release of 2019. This strictly limited, blue and yellow splattered vinyl platter is futurist dancehall at its most exhilaratingly demented. Random synth patterns, chaotic bleep emissions and all round oscillating madness ensures this furiously fresh track, flows freakily, like a bogle frenzied droid transmitting from Kingston, Jamaica, year 2049. Kevin Martin aka The Bug, nagged Mitch into submission, to release this Acid Ragga killer, after the PRESSURE label CEO, heard ‘Not Modular’ standing out clearly from Mitch’s gobsmacking one hour ‘Techno Dancehall Mix’ at the end of 2018. And as a tribute to South East London don dada Mitch, The Bug himself decided to slice, splice and dice ’Not Modular’ into two additional atomised remixes. The Bug’s ‘Straight’ remix, is sub aquatic bashment, pulsating deeply from the bottom of the ocean, buried in a blizzard of white noise and disembodied, hypnotic chimes, with panic sirens set to stun. Whilst the ‘Raw remix’ is no less disorientating and funky, sounding like Lenky’s classic ‘Diwali’ riddim rewritten by an 808 clap addict, with hips set to full rotation. Conclusively alien and ridiculously infectious.

Paul DeMarinis is a key figure in the history of electronic music since the 1970s. Collaborator with the likes of Robert Ashley, David Behrman, and David Tudor, DeMarinis is a pioneer in the development of gallery sound installation and digital music technologies. Black Truffle is thrilled to announce the release of a double-LP collection, selected in collaboration with the artist, focussing on DeMarinis's exploration of synthesized voice and the digital analysis and manipulation of speech sounds. Drawing together tracks dispersed on compilations along with a number of pieces previously unheard in any form, Songs Without Throats offers a revelatory look into DeMarinis's alternately accessible and uncompromising production between 1978 and 1995. Opening with a mesmerizing piece from 1978 pairing the voice and tamboura playing of Anne Klingensmith with strings of letters spat out by a Speak n' Spell to the accompaniment of the randomised melodic patterns of DeMarinis's homebuilt electronic instrument 'The Pygmy Gamelan', the record then dispenses with the live human voice in favour of its recorded and synthetic doubles. We follow DeMarinis's restless probing of the possibilities of new technologies, from the hacked Speak n' Spell (which gives us the austere 'Et Tu, Klaatu' 1979, another duet with Klingensmith, this time on bowed psaltery, in which the toy's synthetic voice is stretched into an alien song) through to the use of digital audio samples manipulated with home computer technology in the early 1990s (including a remarkable dream-like collage piece that weaves a rare recording of Stalin's voice and bird-like electronic twittering derived from its formant-glides into a rich tapestry of samples reflective of the dictator's musical life). In between we get a rich sampling of DeMarinis's signature work with speech melodies - usually unnoticed melodic inflections that lie within speech patterns - which he analyses and translates into synthesized musical accompaniment. These pieces draw on a wide variety of textual and vocal sources, which range from the hilarious to the menacing ('Cincinatti (1830-1850)' sets a detailed description of butchering techniques, for example) and an equally broad range of musical conceptions, combining elements as seemingly unlikely as Beethoven's Opus 31 pianos sonatas and the sounds of 80s synth pop. The results are an extraordinary combination of the alien and the familiar. As DeMarinis himself characterises his work with vocal synthesis, this is 'a kind of signal that simultaneously carried and obscured meaning and ideation, even as it created a sound world totally alien in esthetic'. Presented in a deluxe gatefold sleeve with archival images and liner notes by Paul DeMarinis. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

Wilted Woman is a producer whose left-field approach to electronic music emerges from an experimentally minded and refreshingly unapologetic attitude, forged on the punk and DIY scenes of the East Coast of the United States, and more recently, Berlin. Across her debut release for Phantasy, she contributes two unpredictable and outlandish cuts of hyper-modern club culture, complimented by a remix from fellow outsider alchemist, Laurel Halo.

‘Lon Lon Night Vision’ is a creeping, industrial interpretation of acid sounds, peeling away layers of tension to reveal a melody straight from the cold heart of a John Carpenter soundtrack, resolving in uniquely dystopian funk.

‘No Stinger’ immediately unleashes a burrowing, cybernetic ear-worm of a hook, biochemically blossoming into a sublime, undulating landscape of contemporary trance, rich in ideas and sonic euphoria.

Finally, Laurel Halo turns the screws on the original mix of Lon Lon Night Vision, extracting an almost impossibly taut slice of techno, building raw tension towards a blistering rush of electro psychedelia.

“Following on from Homenagem, Lugar Alto’s first critically acclaimed project, the São Paulo label's new endeavour is the reissue of another neglected masterpiece. This time, it’s “Poema da Gota Serena” turn by Zé Eduardo Nazário from 1982. This unique work gathers elements of free jazz, Brazilian Northeastern rhythms, Asian percussive instruments and electronics.

Zé Eduardo is a virtuoso drummer and percussionist with a prolific career as a musician and teacher. He was introduced to music in his youth and started playing professionally at the age of thirteen. In the late 60’s he was a regular at the famous Totem night club in São Paulo, where he performed alongside the pianist Tenório Jr. and other exceptional instrumentalists. It was there that he met Guilherme Franco, and together they formed the Grupo Experimental de Percussão. This period defined Nazário’s interest in different sonorities involving percussion, and he broke away from the more traditional genres, such as bossa nova and jazz. Over time, this distinctiveness in sound and playing allowed him to create his own path which culminated in an extensive number of remarkable works, including the colorful and psychedelic “M andala”, which examines Indian and hippie themes. He also played with Hermeto Pascoal’s group and joined him and Jaques Morelenbaum for the recording of the cult classic “Imyra, Tayra, Ypy” by Taiguara. For Egberto Gismonti’s “Nó Caipira”, Nazário performed with the khene, a mouth organ from Laos, a present from Gismonti himself.

But it is Nazário’s work with the 1976 collective Grupo Um which is his most well-known, who, during their 6-year legacy recorded, amongst movie and ballet soundtracks, 3 albums: “Marcha Sobre a Cidade”, “Reflexões Sobre a Crise do Desejo” and “Flor de Plástico Incinerada”. The combo is considered one of the most innovative formations of its time, unusually combining electro-acoustic elements, jazz and Brazilian traditional music.

Poema da Gota Serena was Zé Eduardo's first solo project and it was financed by the legendary Lira Instrumental, a collaboration between the ground-breaking venue, label and publisher for the São Paulo avant-garde, Lira Paulistana, along with the always interesting Continental Records, home to such luminaries as Tom Zé. The album was offered as a package deal simultaneously with the production of “Flor de Plástico Incinerada”, ensuring 2 studio sessions at JV studios in October 1982.

Each side of the album explores different duets which, with its suite formated tracks, give the album the feel of a cohesive whole. The first half of the A side, “Energia dos Três Mundos”, is shared with the improvised saxophone of Cacau. Nazário delves into free jazz rhythms and plays his drums with a rolling and tumbling swing, using the kit in full, demonstrating the power of Brazilian jazz fusion. The second half of the suite takes us into a more tranquil mode. “Só Prá Ouvir”, demonstrates Zé’s mastery on the glockenspiel, and Indian percussion instruments, such as the tabla and mridangam. Cacau, on his side, switches his saxophone for more delicate dancing flute driven passages, equal parts northeastern rhythms and deep Amazonian indigenous influences. The B side, with “Prá Pensar / Prá Sentir e Prá Contar”, contrasts heavily with the A side’s more organic and natural feel. In Prá Pensar Lelo Nazários’s synth clusters and electronic blasts strangely interact with the exploring, wandering percussion. This track leads into the sublime “Prá Sentir e Prá Contar” where South Indian inspired vocals, performed by Zé Eduardo, accompany the graceful synth chords and fluttering percussion. The result is a hypnotic, otherworldly feel to the music that is infectious and takes the listener on an extraordinary journey.
With Poema da Gota Serena, it is possible to hear music that extrapolates the lines of the avant-garde and popular music. It is an album the demonstrates that Brazilian jazz fusion can be both spiritual and challenging at the same time.

All the tracks were expertly remastered by Lelo Nazário, directly from the original tapes, maintaining the high quality of production that Lugar Alto are becoming renowned for. All the artwork was reinterpreted by the São Paulo design studio Sometimes Always, including an exclusive insert and unpublished images.

It seems that Lugar Alto have managed to excavate yet another gem from the seemingly bottomless Brazilian mines. Long may they continue to do what they do so well.”

Mannequin Records presents an outstanding collaboration between Michel Amato (The Hacker) and Alessandro Adriani.

What began as a B2B DJ set between two like-minded, seasoned veterans organically developed into a full force enthralling studio project and live set. Amato & Adriani is the new found project by Michel Amato, more commonly known as influential artist The Hacker, and producer and Mannequin Records label head honcho Alessandro Adriani. The collaboration fuses contemporary ideas with the duo's shared love for electro, EBM, Post-punk, Wave and the natural synergy to be found in the creative moment. Each artists production style and philosophy, when combined, elevates something new in one and other. The result, an innovative hybrid of classic sounds fueled by two creative forces working in pure synchronisation. Their debut EP, 'Présence Du Futur', is set to be released by Mannequin in June 2019 and includes a special collaboration with Cabaret Voltaire singer (and founder) Stephen Mallinder.