Beats News

Last year, after his mind-warping gig at Cafe OTO, we presented the new world of Yximalloo, and his label Sakura Wrechords, from Tokyo.

Yximalloo's (Naofumi Ishimaru) long and varied career in music covers a period as manager of Yellow Magic Orchestra back in the day, when he also started producing his own music on cassette. Later branching out into CDrs, his discography is voluminous. Sometimes collaborating with Momus, Jad Fair (Half Japanese), Sympathy Nervous (Vanity Records) and others, he has quietly put out over 70 releases, all with his undefinable catalogue of styles.

An unknown track of his was released in 2013 by Kompakt, as "Wanted". An unknown artist - they had lost the details of the CD he'd sent them - they were compelled to release it anyway. It was the only vinyl release of Yximalloo's until "Best Of". Now he returns with a second volume.

Culled from just a few points in his prolific career, this release has hints of early Residents, Hosono's jerky formative sample projects and deep- in-the-woods Texas Chainsaw Massacre vocals - just a few more glimpses of Yximalloo's dimensions. Shipping in two weeks.

In her varied career that would combine art gallery installations, major film soundtrackings and commissions for Atari, Suzanne Ciani’s earliest experiments remain some of her most challenging, beguiling and timeless... Flowers Of Evil ticks all the above boxes and flicks switches that would power-up a new uncharted universe of her own musical modernité. Finders Keepers present the first-ever release of these vital archive recordings.

As a genuine vanguard of electronic music composition at the forefront of the modular synthesiser revolution in the late 1960s, Suzanne Ciani’s forward-thinking approach to new music would rarely look to the past for inspiration, which makes this unheard composition from 1969 a rare exception to the collective futurist vision of Ciani and synthesiser designer Don Buchla. In choosing to adapt the controversial prose of French poet Charles Baudelaire, Suzanne would join the ranks of ongoing generations of pioneering musicians like Olivier Messiaen, Karlheinz Stockhausen, Serge Gainsbourg, Etron Fou Leloublan, Celtic Frost and Marc Almond (not forgetting Star Trek’s William Shatner!), all equally inspired by the 19th century writer’s works of “modernité” (modernity), a self-coined term dedicated to capturing the fleeting, ephemeral experience of life in an urban metropolis, best exemplified in his symbolic, erotic and macabre ode to Parisian industrialisation, Les Fleurs du mal (Flowers Of Evil).

In her varied career that would combine art gallery installations, major film soundtrackings and commissions for Atari, Suzanne Ciani’s earliest experiments remain some of her most challenging, beguiling and timeless... Flowers Of Evil ticks all the above boxes and flicks switches that would power-up a new uncharted universe of her own musical modernité. For the many enthusiasts that have already drawn the parallels between Baudelaire’s writings and experimental/electronic music (a relationship rivalled only by the likes of J. G. Ballard and Aldous
Huxley) some might instantly recognise an unconscious sistership between this recording and another 1969 electronic adaptation of Flowers Of Evil by celebrated female electronic composer Ruth White. An interesting distinction of White’s excellent version of Flowers Of Evil (released via Limelight records, home to the likes of Fifty Foot Hose and Paul Bley) is that its dark tone generation and vocal manipulation was created with a Moog synthesiser, the commercially triumphant
rival to Suzanne and Don’s Buchla Systems (Buchla and Moog’s historic, simultaneous, neck-and-neck synth developments are well documented.) The fact that Ciani’s version was never intended for commercial release (not unlike her 1975 Buchla concerts, which could easily have taken Morton Subotnick’s Bull by the horns!) is also poetically reflective of the nature of Ciani and Buchla’s alternative perspective. The choice to present this extract from Flowers Of Evil in its intended French language further distances Ciani’s faithful reaction from some of its better-known variations. Having attempted to voice the poem herself, the multilingual Italian-American composer’s French accent did not meet her own standards, resulting in the request for a fellow unnamed French student who lived on campus at Mills College in Oakland to accurately verbalise the section of Baudelaire’s collection entitled Élévation.

‘Tribes 1.1’ by Weird Dust is the third release on Brussels-based label and vinyl purveyor Crevette Records. The six tracks reflect an eclectic taste in hardware, melding organic and heavily processed sounds into a sort of musical retro-futurism. The percussion distinguishes itself, simultaneously free-form and mathematical, and certain to make you dance. Up close, ‘Tribes’ gestures at something alien, like going back to the jungle, but on another planet. This is what the future was like; notice the weird dust all around you.

Set to be one of the biggest tunes of 2019, Vanta Black is a sonic statement like no other.

Headed up by the inimitable instrumental, the release also features the equally sought after Inja vocal version as a digital exclusive and a VIP of Low Blow, the original being the track that started Benny L's Metalheadz journey almost 2 years ago.

Low Distance is Deaf Center´s third full-length studio album and perhaps the most focused effort by the Norwegian duo to date. After their last record Owl Splinters (2011) was quite an eclectic endeavor, Erik K Skodvin & Otto A Totland draw their sound back into something more quiet and minimal.

The record starts with a piece of sweeping analougue electronics. It´s a spacious, yet dynamic opener that leads directly into the static tones and piano motivs of Entity Voice, which balances a new sense of abstractation with the classic Deaf Center sound. It´s warm and close while sounding like it´s set in the outer horizon. Overall Low Distance feels both alien and familiar with its atonal synths, close pianos and drowned out noises.

After meeting in studio for the first time since 2011, the recordings came out of a 3 day session in 2017. It was then mixed at both EMS Stockholm and at Erik´s home studio over a longer period to create a blend of deeply layered as well as stripped down pieces. Both Erik & Otto have been active individually since their last meeting as Deaf Center: Otto released 2 solo piano albums, while Erik has furthered his descent into musical abstractation both under his own name and as Svarte Greiner. It´s long overdue to hear them connect their personalities into something new. Low Distance is a welcome return replete with beauty, mystery and uncertainty.

Noise To Meet You's second release offers a mini-LP that drives Electro to its most elegant side. Six tracks filled with dance impulse and emotional charge made by the Swedish artist, EBE-2.

Berlin based trio Keller Crackers collective likes to shape haunting esoteric sounds, in which self-built instruments dance with ritualistic synthesised rhythms, field recordings, psychoacoustic drones and poetical spoken silhouettes.

After a self-released MC and a mesmerising tune called “Anem” out in February 2019 on the custom-made Kashual Plastik 007 double-vinyl compilation, now they give birth to their own debut record “KC”, a four track EP resulting from various improvisational studio sessions, a bag full of spontaneous visionary DIY sound fashion that melts meandering serialism, foggy ‘Chris & Cosey’-ness, exoticism and freely expressed emotions. Some pieces are given time to evolve, being dragged through long arrangements and slow transitions, while others are playful and short. To close up the magic circle, the release includes a tripping Tolouse Low Trax signature remix.

The opening tune “Specialised” swings on a trance-like hypnotic bass line, while a self-made kalimba played through a tape delay and overtones from a DIY circuit bended device inject dynamics and colour to the composition. Out of the sonic depth, the spoken words of Sylvana Wickman emerge enchanting and unreal, naming a series of technical terms, assembling a deep notion on the specialised society we live in.

“Cow Tongue” follows, a fleeting composition of crackling electronic clicks jumping off a micro-modular device. They got overdubbed again by Sylvana’s voice, delightfully reciting phrases from a recipe of regional delicacies.

The A side of KC`s first strike finishes with a spaced-out synth bass and the lo-fi beats of a Yamaha RX15 drum machine. They are the gripping foundation of “Aithouses Anamonis“, which means “Waiting Rooms”. It describes the scene of a man sitting in a waiting room observing the consumerist behaviour by the folks around him.

The B-side opens with a Tolouse Low Trax remix of “Specialised”, elevating the original with the bass line of “Aithouses Anamonis“, while melting the all into a dark nebulous Tolouse Low Trax signature stripped down funk for endless nights in neon lights.

For their final track “Colours”, Keller Crackers invited a steady free member of their live shows to record with them: free jazz musician Robert Würz. He tuned his flute enthralling over a suspenseful bass line formed in a whirlwind of synth-sounds. The whole frenzy gets divine through sliding chords that rise from a self-built guitar.

A musical bouquet for open spirits, that value charming minimal wave zones, undefinable post-industrial psychedelics and hallucinogenic poetry reflections on the current state of our mechanical times.

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.

The Music from Matthew Barney's Drawing Restraint 9 is a soundtrack created by Björk in collaboration with her then-partner Matthew Barney for his film of the same title.

For this project Björk traveled to Japan to study ancient Japanese music. Several tracks are made with the sound of the shō, a Japanese instrument which contains 16 various reeds; the shō performances are from Mayumi Miyata, one of the world's greatest shō players.

She also appears in the film, playing her instrument. The song "Holographic Entrypoint" features a Noh score and vocal performance by Shiro Nomura. Björk brought "Nameless" back from her 2003 tour, and, with the help of Leila Arab, looped and edited it to create the track "Storm".

Alternative folk singer Will Oldham (also known as Bonnie 'Prince' Billy) is featured on the first track, "Gratitude", singing a letter from a Japanese fisherman to General Douglas MacArthur set to a melody by Matthew Barney. Björk's vocals feature only on the tracks "Bath", "Storm", and "Cetacea". "Gratitude", "Shimenawa" and "Cetacea" feature harp player Zeena Parkins, who previously collaborated with Björk on her 2001 album Vespertine. "Hunter Vessel" was later re-used on her album Volta for the tracks "Vertebræ by Vertebræ" and "Declare Independence".

Modeselektor veröffentlichen eine dreiteilige, limitierte Picture-Disc-12"-Serie mit den Highlight-Tracks ihres Albums "Who Else" samt Vinyl-exklusiven B-Seiten. Die Single "Wealth" mit der Londoner Grime-Künstlerin Flohio erscheint samt Instrumental und Accapella-Version (Vinyl-only). "Who", die knusprige Kollabo mit dem estnischen Rapper Tommy Cash, wird mit Modeselektors atmosphärischem "Who Else" gespiegelt. Und der Dancefloor-Hammer "I Am Your God" mit Otto von Schirach ist gekoppelt mit dem nicht minder effektiven "Bronko". Alle Picture Discs erscheinen in vollwertig bedruckten Innenhüllen und Außencovern.

Man Band returns with its second release of 2019. Newcomer Tibia makes his first contribution to the label with ‘Polypola’, an outstanding 5 track EP of otherworldly broken techno, rolling downtempo rhythms and electronica hits for spiritual awakening.

Grattis! Thomas Flachsbinder 40år EP, otto002.

The title of the EP is "Happy birthday! Thomas Flachsbinder 40 years" and it pretty much sum´s up the whole reason for this EP. Our dear friend Thomas have been making lovely music for some 20 years now. And this EP is an selection of different aliases his created or been involved with. The genres goes from 50-60´s surf, rockabilly, rock, german house, ska, jazz, amen breakbeat organ pop to bossa nova. So hopefully you´ll find something that you´ll like.

✖ INCL 7 STICKERS, 2 BUTTONS + 2 FOLDOUT POSTERS
✖ SPECIAL „GLOW IN THE DARK“ PRINTS
✖ LIMITED TO 300 RECORDS WORLDWIDE!
✖ COVERART by SCOTT ROBINSON 3D (UK)
✖ MASTERING by STAZMA THE JUNGLECHRIST (F)
✖ DESIGN + PRINTINGJOBS done by e_wann (BE)

Definitive Hospital Productions artist Jim Mroz aka Lussuria follows duties on Prurient’s ‘Rainbow
Mirror’ LP and and appearance on Vatican Shadow’s ‘Berghain 09’ mix/compilation with a new
opus worthy of comparison to his dank ambient classics, ‘American Babylon’ [2012] and ‘Industriale
Illuminato’ [2014]


In the foreboding ‘Three Knocks’ Lussuria limns an unconscious, near-death experience based on a
tale told by his mother, who was admitted to ER after an allergic reaction escalated into something
inexplicable. She was put in a medically induced coma and administered a breathing tube. When
under the effect of heavy sedatives, she spoke of a visit by angels who warned of an impending
disaster. She eventually came around, and recounted that her illness was preceded by three knocks
at her office door, slow and heavy - proposing that each knock was a mockery of the Holy Trinity;
one knock for each crucifixion - but when she answered nobody was there. This omen, and its
confirmatory hallucination form the basis of Lussuria’s utterly absorbing new album.
Using a Hawaiian flute made from a human femur, and an Iron Lung for percussion (don’t ask how
he accessed it), together with operatic tape cut-ups and field recording made on the shores of
Long Island’s empty asylums, Lussuria stages his mother’s vision in four parts of lugubrious, black
metal ambient gloom. The atmosphere is just frighteningly tangible, revealing a sense of depth
perception and stone cold clamminess that brings its spirit vividly within touching distance, from
the over-the-shoulder vocals and cracked window pane howl of ‘Fentanyl Chaser’, to the hollow
clank of oil drums and spent ammo casings in ‘Three Knocks’, and through to the frankly terrifying
descent thru choral loops into a bony flute solo with ‘Confused And Ill By Shadows’.
This would all just be another urban myth were it not for the exquisite detail and dramaturgy of
Lussuria’s production and arrangement, which typically imparts its feeling in no uncertain terms,
most acutely hyperstizing (making a superstition real) a state of psychological dread and panic
induced by the occult imagination.
• Supremely dank, occult dark ambient and submerged black metal
atmospheres
• Follow-up to scene-defining classics ‘Ghost Entanglement’ and
‘American Babylon’
• RIYL Cold Meat Industry, It, Prurient, Deathprod
• Mixed and mastered by Josh Eustis. Vinyl cut at D&M, Berlin

New compilation Untitled collects seven collaborations inspired by the life and work of Jean-Michel Basquiat, pairing emerging and established musicians to create a genre-defying compilation of new music.

* Shabaka Hutchings, Kojey Radical, Wu-Lu, Nubya Garcia, Lex Amor, Ego Ella May, LayFullstop, Moroka, AJ Kwame, Lord Tusk, Roxanne Tataei, Kz, Mala, Joe Armon-Jones, Confucius MC, Kwake Bass, Maxwell Owin & Coby Sey.
* 12″ gatefold sleeve printed with UV Spot gloss
* 1 x 180g heavyweight black vinyl
* Artwork by Fabrice Bourgelle & Anja Ngozi
* Mastered by Finyl Tweek, London.
* Ltd Ed. of 1500
* Vinyl and digital release date: 31/05/2019

A1. Wu-Lu, Lex Amor, Ego Ella May – ‘Legend’
A2. LayFullstop, Moroka, AJ Kwame – ‘Broadcast By Chocolate’
A3. Lord Tusk ft. Roxanne Tataei – ‘Know Ways’
B1. Kojey Radical, Shabaka Hutchings – ‘No Gangster’ (Produced by Kz)
B2. Mala, Joe Armon-Jones, Nubya Garcia – ‘Scratch & Erase’
B3. =CoN+KwAkE= – ‘Same Ol Samo’
B4. Maxwell Owin & Coby Sey – ‘Response to Michel’

Released by Lonely Table, Anja Ngozi and The Vinyl Factory, with support from the Arts Council England, the album spans genres and eras, touching on jazz, experimental electronic, post-punk, dub and ambient influences, painting a diverse picture of the UK’s expanding underground sound.

Drawing on Barbican’s major Basquiat retrospective in 2017, the project also explores themes around identity, representation and social inequality.

As such Untitled also encompasses a youth project with Ruff Sqwad Foundation, in which seven BME young people aged 12-18 were given the opportunity to visit the Tate Modern and create music in response to what they saw.

As LayFullstop says: “We’re celebrating a legend who fought with his brushes and spoke with his work. The need for his work is still as current as ever. The issues we’re attacking are still as current as ever. So it’s only logical that Basquiat is and will continue to be as current as ever.”

Bastard Jazz is proud to present the new EP from Vancouver's AstroLogical, also known as one half of production duo Potatohead People. With a long list of collaborations outside of the group ranging from Pomo, Phife Dogg, Illa J and Chin Injeti - Astro's new EP "Private World" resides somewhere in between jazz, soul, ambient and future electronic vibes with it's lush keys, chunky breaks, and deep musicality.

Nate Drobner aka. AstroLogical is a multi-instrumentalist producer/composer based in Vancouver, B.C. Canada.
After releasing a number of solo instrumental hip-hop projects through the net label Jellyfish Recordings in the early 2010's under the AstroLogical alias, he had began focusing his energy on the producer duo Potatohead People; a collaborative project with his old friend Nick Wisdom, eventually getting noticed signed by Brooklyn-based record label Bastard Jazz in 2012 (with the help of Nightmares On Wax). Their 2018 full-length sophomore album 'Nick & Astro's Guide To The Galaxy' was released to great acclaim and led them to be invited to Jazzy Jeff's annual Playlist Retreat alongside such luminaries as Lord Finnese, Young Guru, and Pharaohe Monch.

Following last year's "Şeb-i Yelda" EP under the R.A.N. moniker, HÜMA UTKU delivers her debut full-length album under her own name "Gnosis": a blend of abstract electronics and ritualistic throbbing beats with field recordings and ambience, available as LP and DL.

With "Şeb-i Yelda" (2018) HÜMA UTKU introduced her musical style to a broader audience - storytelling through elements of industrial, techno and abstract electronics, blending in field recordings and traditional instruments from the middle east. A sonic journey that now continues on "Gnosis" that owns the signature sounds of the Istanbul born / Berlin based electronic artist and pushes them further. The Greek word "Gnosis" meaning "knowledge reached through intuition and individual experience" has been used throughout history by various schools of esotericism and thought, to signify gaining insight on workings of the universe. Coherently the album follows the hermit-like, truth-seeking traveller on a path through various times and geographies, through different forms of human experience. Merging field recordings that UTKU did in Greece, Egypt and Turkey with ambient soundscapes, abstract electronics and ritualistic throbbing beats, "Gnosis" is an intense sonic travelogue where the storyline exceeds the borders any specific musical genre.



Credits:
All tracks written and produced by Hüma Utku.
Tracks 2, 3 and 5 include samples of field recordings done by Hüma Utku.
Mastered by Rashad Becker at D&M, Berlin

9 years on from his Tectonic album, J Sparrow drops his next LP on MEDi with a carefully curated body of work showcasing the breadth of his production skill.


"#000000365 / Dark365 comes as a surprise, but one that feels the product of careful craft"Tomas Fraser - Mixmag Album of the month

Digital: 12 x tracksVinyl: 2 x 12" (6 x tracks)

31.05.2019

ABOUT//BLANK is a collage of collages, an EP pasted together from tracks that are built of parts of various tracks, recordings, sketches, hooks, grooves and loops that Persian Empire has been working on in the past few years. It's a warm piece of fragmented soul music and a project that's far more vocal than any of Sam Khatam's previous productions.

The vocals, though, float in a cloud of haze. Recorded lo-fi, on the fly, impro style. They're intentionally imprecise, leaving blank spots and holes for listeners to fill in. Thus the play of these ambiguous lyrical fragments becomes not just open to but in fact invokes obligatory interpretation. It's the listener who with active interventions solves the mumbles and connects the gaps.

The EP draws from classic funk samples and hiphop production techniques and nods to the end of 90s cut 'n' paste of vanguard styles Mo' Wax, Warp and Chocolate Industries championed so well. With all this retro, throwback swing Persian Empire delivers soft soul that doesn't fit anywhere but in the present.


Persian Empire has been immensely influenced by UK dance styles, from 2step to bass yet his music usually can't happen without the usual intruders - from jazz to experimental electronics and hiphop. With special attention to rhythmical details Sam's put out music for labels likeCosmonostro and Record Record and since 2015 he runs his own Prrrrrrr Records, with a focus on young promising blood.

His live acts are not to be missed.

In mid 2018 Denham Audio and & Borai put out a self released cassette tape named Club Glow Vol 1 full of early 90s hardcore and breakbeat madness, it was well received and tracks started showing up in DJ sets and radio shows. The most popular and widely played was "Make Me" First championed by DJs Peach and Sienfield, the track took on life of its own and has been named checked and ID'd in groups many times by people desperate to know what it was called and where they could get it.

We have remastered the track alongside a new production by the duo that also has that 90s hands-in-the-air-singalong feel, and are able to offer a heavy weight 12in complete with artwork by Mani Festo for everyone who has been asking if it was ever going to be released on wax.

Moonshoe Records has bowled over first listeners by presenting this new side of their sphere - Air Space Ark’s debut, “All Rivers Lead” charts the course of divergent streams of contemporary ambient music, downtempo rhythms, and electroacoustic experimentation, arriving at a calming confluence of these sources. Across the 6 songs on these two sides, they evoke a calming and contemplative headspace

333 is an exquisite study in balance - the intermingling of bird song water sounds that could equally be field recordings or synthesized foley - the ambiguity adding a delightful trompe l'oreille effect - and crystalline keys ; these airy sounds weighted by washes of subbass.

BLANK PAGE is almost like a version of the previous track, retaining the nimble birdsongs and heavy sub, but foregrounding a lolling, stumbling hip-hop beat and placing more emphasis on the effects wizardry as abstract sounds careen across the track in wipes and wisps, before stripping down to a beautiful coda of birdsong, piano plinks and a textured backdrop.

The celestial keys, flute-like thrums and gentle chimes of WORDS BETWEEN SELF evoke the golden age of spiritual jazz, but the hazy ambiance and shuffling beats transmute the other elements around them into something more introspective and personal than jubilant praise. Lyrics aside, the subtle funk coupled with the pensive, meditative air channels the spirit of Stanley Cowell’s classic TRAVELLIN’ MAN.

LOFT IN 7 Is the most “out” moment here. It has echoes, literally, of jazz. Like decaying tape reels disintegrating in real time, we feel the tape buckling and warping under the weight of time as the sounds of a synthetic band warp and shift against electronic impulses and glitches, eventually leaving just a lingering, ghostly imprint. .

DUST SONG veers the closest towards a straightforward instrumental hip hop cut - a submerged sounding breakbeat coupled with a tender piano melody - but is buoyed by drifting pads and a dense, hallucinatory bed of effects.

CONCRETE closes proceedings. Charged with a crepuscular energy, it’s all-together as mercurial and magical as the transition from day to night. Different elements swirl and coalesce, honing in on dense, textural moments across a horizontal drift. The end effect is hypnotic yet captivating, so much so that when the track eventually blooms into silence at the end you’re struck by the brevity of the whole experience. Thankfully you can listen to it again!

Redsonja Records is again back with a special project on a special format introducing the new NCFM series. Focused on The Zenobit3's particular way of configuring his Electro universe, the series consists of three exclusive instalments presented on coloured 10” vinyl. Each release is limited to 100 copies and comes with an exclusive cover print picture designed by S.Halley, who has managed to illustrate some of the extraordinary fictional worlds that surrounds the artist through a mysterious mini-series.

During a deep cosmic music journey through outer space: "Feeling the need to search for extra-terrestrial life I found myself, and now my mission is to reach the soul of humans through music beyond the stars". The Zenobit3 found a renewed sense of purpose, a belief in himself that welcomes new perspectives. The original roots and pure values of electronic music also found their place in the infinite space, as they are the starting point of the adventure as well as its final destination. His track named Madrid My Beat, released on vinyl in 2017 on Drivecom and signed as Zenobite, was the reason why Dj Picht became The Zenobit3. The Electro sound he carried in his blood from long time ago took hold of him and Madrid My Beat has become an anthem of this captivating music style. Now we are proud to present our 18th release, The Zenobit3's first solo release on Redsonja Records.

Lights from the Past (NCFM 01) is the name of the first EP on the NCFM series signed by The Zenobit3. This release is strictly limited to 100 copies and comes nicely presented on red 10" vinyl, containing two powerful electro tracks.

NCFM (Side A) is a strong statement about defending music values and respecting a life style that focuses on a deep and strong feeling for music. Using LFOs, he creates aliens sounds, 100% Zenobit3 style. Melodic structures lead by delay lines and arpeggios that will hypnotize you.

Lights of the past (Side B) refers to current trends in ancestral wisdom and inner knowledge loss, as well as the lack of understanding of how Laws of The Universe operate. This hypnotic track comes with a solid structure, a killer bass line, ascending melodies and groovy soundscapes that invite us to dance... The result is a stunning track.

If you managed to grab one of the limited 12″ with ‘Falling’ & ‘Light Show’ plus remixes – then you know what you’re in for here, and the chances of your captivation are already high…
If not, then here’s your chance for the full dive into E B U’s one-in-a-million sound world.
It’s a very special record, one of the most uniquely alluring albums we’ve heard in some time – and we’re sure this is only the beginning of her journey, so do yourself a favour and step inside now.

Throughout Hinge, Unnatural sounds and pitches exhale in melodic chants, ominous basslines resound and eerie loops fixate in this macabre ensemble. You are captive in her world. Moments of haunting clarity keep you wondering where she will take you next whilst strange narratives unfold. In her music and performances, her chameleonic visual display is charged with emotion, keeping you suspended in a state of flux as she orbits through the spectrum. ‘Stimulated by human behaviour and existence, she questions the very nature of being and invites the audience to explore through her cathartic performance.’

Her sound captures elements of the radiophonic qualities by electronic pioneers such as Delia Derbyshire, through to unlikely melody and harmony akin to that of Ryuichi Sakamoto or Laurie Anderson.

It’s an exploration of strange places with a weird & wonderful sphere, sonically capturing the colourful intensity of Alejandro Jodorowsky’s Holy Mountain, or perhaps sounding like a much more out-there, much more convincingly extra-terrestrial Space lady… These are just vague comparisons though… Essentially, her sound is a total world of it’s own.

Hinge, E B U’s debut album, is an outer body experience that will conjure up memories you never had before, images you can’t quite place but somehow relate to, and a sense of sweet disorientation as you slip into a whirlpool of shapeshifting melody, harmony and frequency.

The 4th disc on Young Echo Records comes locked & loaded with Jabu re-works from the extended family: SKRS & Jay Glass Dubs at the controls!

Pressed to 12″ with two remixed cuts from Jabu’s Sleep Heavy LP on Blackest Ever Black, YE004 follows the murky lyrical showcase from Manonmars alongside O$VMV$M, and reaches out to two producers who have been operating with similar style & fashion to the YE family over the years – forward thinking, eyes-closed, ears-open individualism is the order of the day, and these two remixes showcase this unique application of sound in loose dub structures perfectly.

Each approach the originals with their own take on skewed & stretched dubwise styles – letting the vocals swerve & sway over hypnotic rhythms, off-kilter atmospherics and big belly bassline… Like the best of dub, there’s an instant infectiousness to the rhythm, and a new-found focus on the original elements of the song – however, it’s too easy to apply the dub-tag to this – SKRS & Jay Glass Dubs are doing their own thing – listen and hear for yourself.

[a] A1. Fool If (Jay Glass Dubs Rework) - Remix [Rework] – Jay Glass Dubs

Experimental / Ambient Album by antonio.

Photo by Francesca Frattini

Introducing Dive Reflex Service’s debut album on Limbo Tapes – 12 tracks of deeply enthralling downtempo sketches from one of the most mysterious outfits operating on the fringes of the Bristol underground.

Three cassette releases deep, rounding up a seriously respectable roster of talent, the label isn’t one to court hype or social media stats. A pure outlet for musical ideas and exploration with no ego – Limbo Tapes has been flying the flag for the more abstract beats coming out of different corners of Bristol, plus a few friends further afield.

With two compilations and one artist cassettes under their belt, the label have made the jump to vinyl in fine style, headed up by Dive Reflex Service who was a contributor to their second compilation.

It’s hard to pigeonhole Dive Reflex Services sound, which is no doubt why he/she/they have found a home here – Loosely hip-hop related, heavy with dubwise production techniques – thick washes of atmospherics & dense layers of stretched vocal phrases flow between low passed beats and high end FX. Flecks of eskibeat & dancehall jut through at points, never fully materialising, it’s these hints that keep the whole album fresh and very re-listenable. Immediately enjoyable and deeply rewarding upon repeated listening.

The Fat Hop 7" series returns with a bang for 2014 with killer Instrumental B-Boy Breaks peppered with Bleeps, Hoovers and Warehouse raves references ! Label boss Jerome Hill return to his Itsu Uno guise and is joined by the mysterious Han Do Jin abley providing the flip side..

Oh f*ck, this LONG awaited burner from Manchester-based socio-political underground vocal force Michael O’Neill is here, FINALLY

“Essentially, we’re dealing with problems here. Let’s call it the 0800-FUCKPUNK-helpline, Michael O’Neill is on the other side of the speaker and needs you to know, as the ‘proper’ press text aptly puts it below, and as Mr. Huxley already warned, we’re all taking too much of that fucking soma!
Well here’s your undiluted antidote. 100% honest, 100% direct, 100% no bullshit – take the hit, Micheal O’Neill is here with a wake up call for us all. The album is called ‘The Binary Order’ but you can also just call it a slam in the face to all weakhearts and vampires, because this is political power punk poetry… That’s four P’s: one for each knuckle.”

“Chewed up and spat out, targeted and watched.”
Surplus labour piles up in concrete reservations. The veneer of democracy is fading fast. Confusion reigns. Our subjection to the economy’s ravenous death drive is eased and obscured by Silicon Valley soma, street drugs and the media’s trivialising babble. Pop music’s part of the distraction, of course, but it doesn’t have to be.

‘Binary Order’ is the debut album from Michael O’Neill, a child of Irish immigrants born and raised in North Manchester. A polemic on culture, class and society, ‘The Binary Order’ is fiercely political and musically infectious.

“I’ve had enough of this avant-garde shit”

O’Neill can rant like a Mancunian Mark Stewart when it suits him, but he’s a fine storyteller too. Privileged social butterflies, desperate addicts, vapid pop stars, and frazzled info-workers pass by in vivid character sketches. Lead track ‘One Rule’ is an anthem for the dispossessed millions – the clear-eyed urgency of its chorus contrasts bitterly with samples of a royal correspondent, fawning abjectly.

Produced by Sam Weaver (Hungryghost / Charles Hayward) with O’Neill, and additional input from electro-acoustic composer Danny Saul (‘Beowulf’ / ‘The Last Kingdom’), the album’s visionary production combines hip-hop swagger with clattering dub and cleansing acid. Its surgical hooks, unflinching lyrics and moments of sonic chaos are pacey and possessed of an irresistible narrative flow, you’ll be lucky to hear anything as bracing in 2019, or beyond.

"has pretty much been a ‘those who know, know’ sorta figure, but word of mouth isn’t enough for an album this good." - The Quietus

Dead Horse Beats is the stage name of Canadian musician, composer and
singer Patrick Wade.

Described as "a groovy treasure packed with the excitement and emotion
of a danceclub makeout session" by Noisey; Wade's releases with labels
in Montreal, New York and London span moods and styles from eccentric
trip-hop to pensive R&B and rattling disco tinged dance numbers.
As a performer and DJ, Wade has entertained tens of thousands at
festivals including MUTEK, Canadian Music Week, Igloofest, and Halifax
Pop Explosion and shared the stage with the the likes of Breakbot,
FKJ, Tokimonsta, RJD2, and Charlotte Day Wilson.

As well as a producer and songwriter, Wade's resume as a composer for
film and video includes award winning projects with the Royal Winnipeg
Ballet, Ubisoft, Landr and Destination Canada, as well as screenings
at Cannes, the National Geographic Film Festival and many other
festivals.

Wade's next album Inglaterra is scheduled for an April 2019 release
with Bastard Jazz Recordings.
Inglaterra', a ten song LP crafted over two years in the 28 year old
producer's Montreal studio, is a continuation of the Left-Field and
R&B influenced Soul of 2016's 'Bad Hopes'.

The Spanish word for England; 'Inglaterra' explores the concept of a
rainy vacation through deep, spacey grooves complimenting typically
pessimistic but vulnerable lyrics. Guest appearances from LA singer
Low Leaf on vocals and harp, frequent collaborator Francis Arseneau on
keyboards, and New York based saxophonist Jarryd Torff add soulful
expression to DHB's infectious, jazzy hooks.

Paper Dollhouse present All The Colours Align, a thirty-minute continuous mix created as a companion to The Sky Looks Different Here and compiled from unreleased and unheard material, mixed by The Sky Looks Different Here producer Asher Levitas and processed with Lynchian field recordings from the spaces in-between the groups North London and Suffolk studios.

Dustin Wong and Takako Minekawa began their musical collaboration in 2012, releasing albums 'Toropical Circle', 'Savage Imagination' and 'Are Euphoria' via US label Thrill Jockey in the subsequent years, and a collaboration with Good Willsmith titled 'Exit Future Heart' via Umor Rex in 2018. They build "jubilant, uplifting… repetitive, yet deceptively complex work" (Pitchfork) using a guitar, sampler keyboard, effects voice and synthesizer. Both also have extensive solo discographies and many other collaborations under their belts. In 2019, both moved from Tokyo to Los Angeles.

Haco is a Japanese vocalist, composer, electro-acoustic player, producer, engineer and pop visionary. She has received international recognition as the founder, singer and composer of legendary avant-pop group After Dinner (1981-1991), and subsequently as a member of collaborative projects like Hoahio, Ash in the Rainbow and Yesterday's Heroes. She has also released solo works via Tzadik, ReR Megacorp or SomeoneGood/Room40. Her latest projects include the 2017 album 'Qoosui' ("This is a siren song of an album, drawing the listener deeper and deeper into uncharted territories." - The Wire) and a recent remastered reissue of 2015's 'Secret Garden'.

Jára Tarnovski is a musician, composer and producer based in the Czech Republic. He is known for his numerous collaborations and projects such as the post-everything quartet Gurun Gurun (Home Normal), experimental duo Wabi Experience (Mikroton Recordings), improv collective IQ+1 (Mappa) or krautrock/shoegaze band The Czech Psychedelic Society Manifesto. His most recent releases include a collaborative ambient album with Mexican multimedia artist Laura Luna titled 'Luna & Tarnovski' on Genot Centre or IQ+1's second album 'Conversaphone Plus' on Slovak label Mappa in early 2019. He's currently working on his solo debut album, and also works as a composer for radio, animated film and installations.

Together, this quartet of musicians present 'Kannazuki', a recording of their first and last improv session held in Tokyo in 2017. This recording captures that one moment, the "musical adventure", the "translucent entanglement", the deep respect that each artist feels towards the others.

TALKING OF POST-TECH DIALECTICS,
THIS IS A TRIBUTE TO THE CYBERPUNK.

The mother of technology collapses. Ten fragments of her soul are spread in cyberspace. The last encoder composes the pieces to a manifest. A poem that is a call for the distortion of the artificial.

Manifest is an album, in which CORIN synthesizes the reconciliation of the dystopian and utopian. It is a story of manipulated time that exists out of instrumental and vocal proportions.

CORIN's debut on Bedouin Records will be released in late June. The LP includes 10 tracks.

fter Liquid Liquid disbanded in 1985 I continued to record electronic music at my home studio inEdison,New Jerseybut I decided to mix the songs for "Concepts" at another studio so I could have another set of ears to help with the mixes. I was lucky when I looked in the local music ads that I to find Gabriel Farm Studios inPrinceton,New Jerseyowned and operated by Andy Gomory. Andy was a true talent, a keyboardist and arranger, we hit it off immediately. After he recorded my mixes we would record songs together. Andy played drum machines and keyboards while I played percussion, keyboards, & guitar and we both sang. When Andy and I parted ways in the late 1980's I decided to add both drums and percussion as well as overdubs from guest musicians many of which are included on this album. The albums timeframe ends in the year 2004. The later recordings have a jazz feel to it yet still had dance music elements mixed in. The title track "Primitive Substance" really sets the tone as you hear the great playing of Michael Gribbrook on Frugel horn/Trumpet and Gerry Carboy on bass. Also, my favorite song on the recording "Forgiveness" has David Axelrod (not the famous one) playing beautiful melodic bass guitar thru out.

Special thanks to Euan Fryer of "Athensof the North" for releasing this album. As I listened to the songs I decided to use for this recording it brought back memories of the hours spent adding the extra sounds and instruments to the point where I wanted to listen to them again and again to see what I missed hearing . Keep a close ear this might happen to you after hearing "Primitive Substance".

Thanks for listening!

Dennis Young/April 2019

Discom proudly presents Du Du A- Du Du Archive 1984-1989 LP, a collection of previously unpublished and rare tracks of Belgrade's cult band Du Du A. Discover the music of the group whose leaders Dejan Kostic and Zoran Zagorcic primed for their never-released second album and find out why they earned a cult status among DJs and collectors worldwide!

* MIRAGES is the brainchild of Jean-Benoît Dunckel(AIR) and Jonathan Fitoussi.
* Spawning from Xavier Veilhan’s Studio Venezia at the 57th Venice Biennale and completing in Jean-Benoit’s studio in Paris.
* Collaboration between Jean-Benoit (AIR) and Jonathan Fitoussi.
* 12″ 180g heavyweight clear vinyl
* White printed artwork by Jean-Philippe Talaga
* Photos by Diane Arques
* Ltd Ed. of 500

“Synthesizers amassed through the years, which on this album, conceived with precision and care over the course of one year, reveal their essence –and more importantly, their soul, going from very cinematographic parts to very direct others. Between start and finish, a singular floating and inventive pop music unfolds. An upgraded form of instrumental electronic music, that takes the listener very far, and very high, perfectly mixing both musicians world, like fruitful pictures arisen from a desert that forgot to be arid. Their mirages are inventive, their mirages are fertile.” Joseph Ghosn

Legs 11 collaborate with the infamous drag DJ duo Lisa & Lisa for a special, limited 10" vinyl release. They first met at a festival in a community garden, where they both performed, instantly bonding over a shared love for underground pop music and clubbing. While dancing the night away in a tiny, steamy community garden play house, the idea for a collaboration was conceived.

Lisa & Lisa joined Legs 11 for their concert at Oslo Pride in 2018, adding vocals, dancing and fabulousness. The combination of the Lisas' irresistible, rough glamour and Legs 11's catchy, club tinged synth pop brought so much joy, that the obvious next step was a studio collaboration along the lines of Eight Wonder/Pet Shop Boys. The choice of covering Bertine Zetlitz' Girl Like You was similarly obvious, being the only true Norwegian electro pop diva. Adding Edwyn Collins' similarly titled song, proved a perfect choice for a double A-side single.

• Debut album by production whiz-kid Mantronix, one of the most important acts in the mid-80s hip-hop. Pioneers of drum machine, sample technology and art of the remix.
• Features NYC club anthems ‘Needle to the Groove’, Fresh Is The World’ and ‘Bassline’ (UK top 40 hit).
• This is raw hip-hop and electronic music of the highest calibre.
• Cult classic proudly reissued by Demon Records on 180gm heavyweight black vinyl with
printed inner sleeve.