Beats News

Two new longform recordings by Felix Kubin.

A - Max Brand Studie IV Composition for 8 loudspeakers, arranged in a circle. All sounds: Max Brand synthesizer (two mother oscillators with 4 subharmonic oscillations each and B-oscillator). Recorded in the former premises of the Institute for Media Archaeology, Hainburg a.d. Donau, November 2013. Premiere of the original version: Audible Festival, Paris, September 2016. Revised stereo version: April 2018. "As I experimented with different settings and sounds, the apparatus began to develop a life of its own. Its monophonic, swaying tonal registers conjured a ghostly presence in the vaulted space. Here I sat with the egocentric and stubborn Max Brand, we sat together on a long thin wire and listened to a distant war that was not our own." - Felix Kubin, 2013

B - T O P I A Composition for a 3-channel video installation by Josephin Bo¨ttger. All sounds: Rob Hordijk modular system and sounds of the port of Hamburg. Recorded at Hammerbrooklyn Studio, Hamburg, September 2016. Premiere of the original version: Oberhafenquartier Halle 4, Hamburg, September 2016. Revised stereo version: March 2018. "...an indeterminate figure climbing from hill to hill - mounds of earth, remains of excavation work on building sites, the negative form of the office towers collapsed and turned outwards, superfluous material. With yardsticks, tubes and fold-out plans, the figure struggles to measure the land that no longer seems to obey (...) the scene - of an absurd fable of growth - in an endless loop." - Nina Lucia Groß, 2016

This killer Italian library album by Luciano 'Arawak' Simoncini was only ever released on the elusive Orrery Records label, and is now very hard to find. Still very much under the radar, Explosive reveals itself as a swift tangled web of beats for the discerning DJ. Tracks includes the driving cosmic funk Hardware with sharp hip-hop breaks and spaced-out abstract synth keys.

Kangoroo Court is an even better alternative version dubbed with underwater and weird'ish train effects. More electric piano madness on the insane Oil Spot. Also includes the two superb Fender Rhodes & environmental FX tracks Shotgun (First compiled on Vroommm funk cinematique and recently sampled by Tomppabeats) and the intriguing track Warhorse. Classic Arawak moods not to be missed!

Fully remastered and licensed reissue, limited to just 350 copies on black wax.

Acclaimed UK producer, Cella Records label operator, and swiftly aspiring talent Turner has already stirred up the scene with quality shells more than once with his own acclaimed productions, receiving air-play from venerated key figures such as Mala or Youngsta. Laying down the law for its first three releases, it's time to showcase his undoubtedly equally effective A&R skill - welcoming none other than the Rochdale-based artist duo BFM (Bloodklart Fiyah Mandem) to the label roster. Consisting of JFO and Sativa, their collaborative output cuts through the noise - support from the likes of Grime veteran Slimzee and physical releases via Glassy Records and Hooded Up. Now stepping back on the controls to set the new year ablaze in style, BFM delivers a total of four extensively weighty cuts for Cella's fourth vinyl release. As the needle picks up the records' first grooves, 'Magic Carpet' sets path on a ride into a distant and barren territory - at once being enamored by its contemplative atmosphere. Unraveling its dynamic interplay of sound and silence, the authentic old-school instrumentation and lavishly saturated low-frequency surges keep us coming back for more. Catching a swift breath, 'Niyaz' lures us into spheres of droning reverberations - phasing in and out amidst vigorous square-wave leads and meticulously crafted foley effects - conveying its story with full force on a minimal platter. No exception to the rule, 'Shade Riddim' conjures another isomere of their signature ambience - wailing voices, enigmatic strings leading the way through dimly lit, high-pressure alleys. Droning along as conclusive proof of this releases' unquestionable intensity, 'Limitless' wraps up the madness - delivering a fourth, flawlessly executed bass-weight meditation. Timeless music on a twelve-inch platter.

Reigning vibe-wave don of the City of Roses returns to the SILK chalet bearing four fresh afterhours anthems ripe for repeat rinsing. Midnight takes its name from Body San's special-ordered strain of Nag Champa, and exudes a similar air of nocturnal promise, streetlights reflected in glass brick fountains and condominium windows. Brandon Knocke's knack for Memphis design funk and skymall fusion hits an apex here, flexing a full spectrum of rhythmic reveries: fluid, jazzy, joyous, sensous. Song to song and side to side Midnight flaunts a panoramic rooftop view of leather interiors, fern-accented foyers, and supreme motion software. Midnight is 12 AM, 12 inches of bump 'n' bounce 'n' body euphoria, music for low lit silhouettes unified in emotional response. Somewhere a clock strikes, a ball drops, and day turns to dawn.

Recorded and mixed by Brandon Knocke in Portland, Oregon. Mastered by Eric Hanson in Los Angeles, California. Design by Britt Brown.

The Myor HQ are proud to finally welcome Percussive P to the family for the third installment of their LUV subseries. Whereas both tunes deal with heartbreak and other love life insecurities, Percussive P's number is definitely on a different vibe than Coco's slightly moody effort. The intro of 'Livin Without' is laced with scratch edits and vocal snippets, after which it drops into a neat little loop of pitched, male R&B crooning, only to morph into a somewhat quirky sounding 4x4 hardcore jam some two minutes in. Cute. Coco's 'Trust Issues' has a more serious sounding, wavy feel to it, not a million miles removed from what some might consider a 'liquid roller', albeit with a strong early/mid 90s breakbeat hardcore foundation, and a solid amount of tape saturation, giving the tune a nice and woolly vibe.

Nurtured Beatz Recordings' latest remix compilation EP is due to hit the stores early 2019. Releasing on vinyl and accompanied by a digital release,

with 2 bonus tracks for those purchasing the full & vinyl versions.

This EP features a compilation of remixes created from Nurtured Beatz' well received 2014 release 'Brand New World LP', which featured 12 tracks from

Kolectiv, Kalm, Carera, Medika, Hyroglifics, Genotype and others. The 'Brand New World Revisited EP' is a double sided single 12-inch vinyl

featuring 4 remixes by Tephra & Arkose, renowned drum & bass artists with releases on Invisible and Dispatch Recordings, MTWN, one of Belgium's most

progressive drum & bass producer outfits whose previous releases are on Diffrent Music, Citrus and Proximity Recordings.

Finally, last but not least Fearful another rising artist currently releasing his debut solo LP on Diffrent Music (November 2018) who has remixed Kolectiv

& Incognitos massive 'Circle OF Sound' track. This has a grimier feel than its predecessor, with ripping synths, gut wrenching bass and rolling drums

Tephra & Arkose's remix of Kalm & Spindall's 'Sixfoot' (side A 1) moves away from their more typical minimal rollers and takes on a darker jungle vibe, with

reverberating vocal samples. Kolectiv's track 'Cryptonym' remixed by MTWN (side A2) is a quite a contrast and has classic dark rolling bass, with a sharp cutting snares and chopping

break edits. Kolectiv's remix of Hyroglifics (Side B1) has rolling, rhythmic vibes with a murky groove.

James Place returns with his new LP "Still Waves To A Whisper" (the fourth release on Umor Rex). Flitting between the dreamworld of hauntological synth music and hypnotic techno functionality, Still Waves To Whisper showcases James Place's continuing development of dramatic (and varied) sound worlds.

Musically, Still Waves To A Whisper contains both some of the most immediately danceable and straight up beautiful tracks of James Place's career. Utilising voice samples from the same source as his last album, Voices Bloom, opener 'Known Cry' is a heavenly coda of sunlight bursting through clouds, warm synths drifting across restrained pulses. 'Timing and Lighting' went through countless live iterations before the current version was tracked for this album, a tunneling exploration of rhythm with a dose of sardonic humor. 'Move In Blue (Homeward Mix)' is James Places' rework of a track from 2017's Voices Bloom, obsessively remixed and revisited, here littered with additional melodies and populated by newly sampled voices. Closing track 'Names' is perhaps the most outright beautiful James Place recording to date. A stripped back rework of a live version of Living On Superstition's 'Another Mourning In America', the tune is based on a melodic line written after the studio recorded version. Interwoven with a sampled vocal, and rinsed of all of the original song, 'Names' is left behind a stark and compelling descendant. The digital release includes a remix of 'Move In Blue' by Persuasion aka Devon Hansen.

The title, Still Waves To A Whisper, stems from a conversation between Place and another artist on methods to ease anxieties and the benefits of a focused practice. The hope's for this music to continue that conversation on a larger scale.

All songs written, produced and recorded by Phil Tortoroli between 2015 — 2018 in Brooklyn, NY. Vocals by Sam Sally and an unknown guest.

Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos & Design by Daniel Castrejón.

'Surface' is new 4 track EP written and produced by Kit Grill during 2018.

Jumanjí is the joint persona of RAMZi and Priori. This eponymous album is a deep adventure in Houti Kindom, featuring a cast of colorful characters practicing interspecific altruism in communion with the invisible world. All songs written and produced by Francis Latreille and Phoebé Guillemot at Jump Source Studios in Montreal, Canada.

Long before Howard Williams crawled out of Honest Jon's basement to kick out his jams as Japan Blues on NTS, and record, he had been running a micro label, Ethbo. Possibly the slowest label in the world, clocking up 10 releases in over 20 years. But, when they happen to be the first 12' by Mike Cooper (2000); Tokyo bass, drum and vocal outfit Femini Flyers; Electronic Rock Non Music maven Kadmon; and, when most tragic hipsters thought Japan was just sushi and manga, Killing Melody, a killer selection of Japanese gangster soundtrack funk (2010). Not to mention 60s garage rockabilly Dean Carter. To name a few.

For light relief, last year he also co-started JWM Records, with a compilation of 20s to 50s Yiddish jazz from London's East End. Not satisfied with that, he has once again revived the Ethbo mini-monolith. Ramping up the speed a little, with four releases in the pipeline for the first half of 2019. The first, Leipzig unit, EEL.

Ever tried to grab an eel If so, maybe you'll have an inkling how difficult it would be to pin down the sounds you're about to deal with on this EP. Think you've got it nailed down Nah, suddenly, it's slithered out your hand and is lithely hurtling off into the water.

'HDD is EEL's first bundle of rendered audio. Soldered textures wrapped in duct tape embracing recycled aesthetics on four tracks. Yelling snapshots that went down the data bus to result in de-culturalized patchworks. Not from a sphere but from all of them. EEL are Philipp Matalla and Robert Schulze.'

Philipp has released a small, perfectly formed collection of 12' over the last few years, on Prins Thomas' Internasjonal Spesial, Doumen Records, Kann Records (collaborating with MM/KM) and Kashual Plastik - his sound is playful, and impossible to categorise. Robert has joined forces, expect the unexpurgated.

HDD 1 A flock of birds trapped in a shirt folding machine, hurtle down Elon Musk's neon tunnel, disintegrating and constantly re-forming into obtuse consumer objects looking for a market.

HDD2 Memories of a summer festival no one has ever seen, a celestial organ makes formless arpeggios, impossible to recall, lysergic crystals constantly multiply skywards celebrating a spirit's ascent to an illusive enlightenment.

HDD3 Every video game ever created in a last pitch battle to the death. We deserved this.

HDD4 An army of wooden ants, the queen below ground on bass, marching through the tundra to a rendezvous with nirvana.

Fémina channels blissed out, harmony-soaked soul music with a purpose. Lyrically poignant with hip hop and Latin influences, 'Perlas & Conchas' is the group's third album proper and unlike previous long players, is primarily an electronic statement, recorded and produced by British producer and musician Quantic - the first ever creation at his Selva Studios in New York - and features Iggy Pop.
 
Made up of Clara Miglioli and the two Trucco sisters, Sofia and Clara, the group's roots are in San Martín de los Andes in the Patagonian mountains, where they grew up together sharing a love of '90s hip-hop imported from the US - as well as the occasional Spanish-speaking rapper from Mexico or Spain. They took a musical side-step when Clara Trucco joined, and began drawing more from vocal harmonies and playing live instruments - a process that led them toward their unique style: a combination of soul, hip-hop and traditional Latin American music.
 The title 'Perlas & Conchas' translates to 'Pearls and Shells', a reference to the process through which a pearl is created: a speck of dirt, encased in a shell, turned into an object of wonder. They want to do the same thing with their music: to take dark, difficult situations and tun them into positivity.

The latest from the Galdoors stable: Cafe Nostalgia takes off, a pumping slab of bubbling bleeps and bass with creeping pads to chew on as you go. Conclusions Like Curtains keeps up the pace on the B-side - driving arpeggiator-tech with FM tweaks and washes taking it deeper. Looped-up rounds off, with layers of restless, twittering snippets wrapping you up in a wigged out groove. One-to-watch from Junes on his own imprint.

62 minute live set recorded at Circus Osaka, Japan in June 2018. Comprising of mostly unreleased and never to be released Overmono material.

It took a while before it was this. It was a place to find clothes made by people lost in a minefield of ideas who liked to party. It was a place for temporary visions that turned out to happen and were then forgotten. It was always a place to find a new circle of friends. A place for expression where the throttle had been loosened and we all careered into the next day and the day after that. We all need to meet in the flesh away from the pixels and connect our first thoughts. Somewhere to ruffle our own feathers and take off on a phantom flight. It has been all this and it still is. Only now there is a record label to try and actually document a little of all of that. Welcome to Sameheads.

This record is a morsel from the community. Novo Line, Twoonky, Kruton, Kris Baha and Antoni Maovvi and Balance Crew aka Dane Close & L. Zylberberg. Six acts whose sweat is in the carpet and who all owe more than seven euros to the place for one reason or another. Six songs that electrify a new way to no wave. Don't forget, this a mince based dish. Enjoy.

J R Seaton aka Call Super

It's my great pleasure to announce the second release on LFT, and my debut record as my birth name, Jordon Alexander, 'THE HEART IS A LONELY HUNTER'.

These songs were written over the last couple months of what was one of, if not the most turbulent, formative and important years of my life. These songs are about self-discovery, who I am and who I want to be.

I thought they were the perfect introduction to all the new material I have coming in 2019, as Mall Grab, and Jordon Alexander.

'More Than I Ever Thought I Could' is an electro-esque excursion which has been serving as a last track in many of my sets and I've been waiting to share since it was recorded. The b side 'The Heart Is A Lonely Hunter' named after Carson Mcullers' 1940 novel, samples the film adaptation and is a melancholy instrumental journey recalling endless hours spent daydreaming looking out train and car windows around the globe.

A doctor by day and a musician by night, Leon x Leon has been producing songs in his
Parisian home studio since 2013, where house, italo-disco and boogie are mixing. When he
was younger, he was immersed in music by taking jazz drum lessons at the conservatory,
and especially by seeing his father, a sound engineer, who had been building his own
synthesizers since the 1970s. As a tribute, he used one of these unique synthesizers on a
title of the disc.
After a remarkable remix of Cerrone's "Funk Makossa" and several tracks on various from
'Red Laser Disco', he released his project My Solar Brass on the same English label in
2017. Organizer of many Parisian parties, he also participated in the founding of the
publishing label 'Good Plus". With the release of Rokanbo on Cracki Records, Leon x
Leon signs a mature EP with the influence of different styles.
The first eponymous title is a manifesto mixing Acid, House and Zouk. As soon as we
launch the track, the pop & acid 80's sounds takes us to another world... A UFO from the
Islands! The other parts of the EP don't leave us in the lurch! 'Formant Sweep' delivers a
soft and groovy bass that responds to an endless, spatial synthetic takeoff. On 'Red
Footpath', the harder kick cleverly blends with an atmospheric blanket and a bright, lively
flute solo straight from an abandoned piece of bamboo on a deserted beach. After that,
'Jungle Juice' lets a crazy keyboard solo resonate in the middle of tropical fauna and flora,
and finally on 'Horizon', the EP ends in beauty with an airy atmosphere. This last piece
sounds like a beautiful sunset at the end of a long summer day.
Through all these tracks, Rokanbo EP offers us a clever contrast between synthetic notes
and the warmth of tropical groove, and places our gaze towards the horizon, seeking the
groove to disturb its line on the infinite sea.

'Sleep my angel, my child, see how the city spreads.' Under Franz Treichler's wings, huge, breathtaking panoramas unfurl like beautiful dreamscapes on the edge of sleep. A weightless dream that is both comforting and blackened with darkness. A return to known land, whose topography has been modified by time and age. Three human beings in the matrix of Data Mirage Tangram, the new Young Gods album.

Eight years without a studio album. The gods may have eternity on their side, it was about time they followed up on Everybody Knows and addressed the period of artistic confusion - in Treichler's own words - that followed Al Comet's departure and his replacement with the original god, Cesare Pizzi. The subsequent tour which focused on the Swiss band's first two albums, could have ended in a deadlock. Instead, it brought a breath of fresh air to the trio, revitalised by this return to their roots. Rock and electro avant-gardists are not known for their backward-looking attitude. Still, thirty years of uninterrupted activity, celebrated with the publication of an 800page book in 2017, could only strengthen the gods' will to write a new chapter to their already impressive history.

Data Mirage Tangram was born in a basement amidst people. Franz Treichler (lyrics, guitar, electronics), Cesare Pizzi (sampling, electronics) and Bernard Trontin (drums, percussion) accepted Cully Jazz's invitation to set up on the stage of the THBBC wine cellar

BNJMN presents Body Reflections Pt.2 - the second step in his new, subdued and intricate sonic direction.
The highly textured ambient dance music that characterized the first chapter released earlier this year seamlessly continues onto this new reference.
Each track on the EP introduces symmetry and rhythm in the form of organic percussion. Whether lethargic and ethereal, blanketed with discordant melodies and arcing synth lines, or, more dance-oriented - with sophisticated interplays of percussive elements looping over soft harmonies.
Body Reflections Pt.2 is deeply illustrative of BNJMN's affinity for creating nuanced and delicately balanced layers, and a culmination of his vast experience.

An ethereal, unresolved presence fading into the stereo field, Hilja breathes into life with a haunted synth line and self-sampling vocal hook that instantly creates an enchanted space. Hilja is the debut album by Glasgow-based musician Maria Rossi aka Cucina Povera. Named after a style of southern Italian traditional cooking associated with precarity and making-do, a philosophy of simplicity and stoicism that applies perfectly to the spare but beautiful music Rossi experiments with. Hilja's marriage of minimal synth, field recordings and the hymnal dexterity of Rossi's vocal performances creates a new language, sometimes literally, to be spoken in some mythological Fourth World we've yet to create.

Originally from Finland, Rossi brings an acute sense of space, surroundings, and practicality to her working practice, with each composition often relying on a limited sound palette to create deeply affecting messages which transcend language. Cucina Povera's power is to communicate purely, often down to the solo-choir nature of Rossi's multi-layered voice, an achingly beautiful instrument which has seems to have an innate spirituality in its grain. The tension between the means and the end is at the heart of Cucina Povera, the invocation of a kind of secular spirituality at times using nothing but Rossi's voice. Indeed there's almost a Dogme-like purity to the arrangements: Elektra is a soothing song based around the lapping waves of Rossi's wordless backing vocals and a simple field recording of stones knocked together. Kehoitus is completely a cappella, a haunted fairytale told in glossolalia, evoking a quasi-religious experience with very little.

For music often minimal and simple there's a boldness that belies Hilja's status as a debut. Rossi allows each word, each sound and rhythm to exist in its own space, finding its own relationship with its surroundings. Mesika¨mmenen Veisu is perhaps the most ecclesiastical sounding composition here; burbling water trickles below a virtuoso vocal, with incredible arrangements in several registers undulating above. A meditation to relieve hunger and restriction, it's a perfect summing up of Hilja, a music ambient but completely earthed, finding enchantment in what you have to hand, the realism of magic, the magic of realism.

Robin Hayward (b. 1969 in Brighton, England) is a tuba player and composer based in Berlin. Since the 1990s, he has been concerning himself with experimental and radical playing techniques on brass instruments, initially through the discovery of the "noise-valve", later through development of the first fully microtonal tuba in 2009. In 2012, he invented the Hayward Tuning Vine as an interface for exploring the harmonic space implicit within the instrument, which exists both as a software version and as a physical prototype. Hayward's microtonal tuba and, on some occasions, the tuning vine have appeared on numerous recordings with various ensembles, e.g. Tonaliens - who have released a double LP on Edition Telemark in 2017 -, Chora(s)san Time-Court Mirage, and Microtub.

"Words of Paradise" is a 2016 recording performed by Zinc & Copper, Hayward's long-running brass chamber ensemble, featuring himself on tuba and tuning vine, Hilary Jeffery on trombone, and Elena Kakaliagou on horn. The piece was inspired by the ideas of 16th-century Dutch linguist Johannes Goropius Becanus, who thought he had shown the Flemish dialect Brabantic to be the original language spoken in Paradise. Observing Brabantic to have a higher proportion of single-syllable words compared to other languages, he reasoned that as the first language must have been the simplest, all languages must be derived from it. The composition draws on the sound of 13 single-syllable words that Becanus used to support his theories. Using half-valve and muting techniques, the inflections of speech and vowel sounds are imitated on the brass instruments, to which the Hayward Tuning Vine is played as a harmonic reference.

LP Picture Disc replicating the multi-coloured circular scores of the horn and trombone parts of "Words of Paradise", housed in a black die-cut sleeve with liner notes on the rear side.

William Engelen (born 1964 in Weert, The Netherlands) is a sound and visual artist living and working in Berlin. After having studied visual arts, his focus shifted over time from solely visual to multi-disciplinary works that oscillate between sound and visual arts, between exhibition and performance, and incorporate installational, sculptural and compositional elements. He now considers himself a conceptual artist who works with sound. Many of his works are site-specific and have been presented and performed in museums, galleries, concert halls, private apartments, parks, urban spaces, a.o. Unlike other sound artists, Engelen does not primarily try to make a space sound, but rather to develop works that resonate and reflect the specific surroundings where they are presented.

"Today, the organ has played beautifully again" (2018) is Engelen's second LP release after "Partitur Belval" in 2016. The piece was written for his solo exhibition "Heute hat die Orgel wieder schön gespielt" at Kunsthalle Osnabrück in Lower Saxony, Germany. The Kunsthalle building was once a Dominican monastery which, in 1713, became home to a pipe organ made by the famous Klausing workshop in Herford. In 1819, after the monastery had been secularized, the organ was moved to St. Matthäus church in Melle where it continues to be played to the present day. For the exhibition, Engelen decided to virtually bring back the organ to its original place. The piece was performed first for an audience at St. Mätthaus church on October 14th, 2018, then turned into an 8-channel sound installation for the Kunsthalle exhibition from November 2018 to January 2019. During the rehearsals and the concert, video recordings were made that were compiled into a 2-channel work. The fourth iteration of the piece is this double LP album, recorded in the night of October 18th, 2018, and presented in a full-colour gatefold sleeve with printed inner sleeves. Co-released by Kunsthalle Osnabrück and Edition Telemark.

"The air supply for this historic instrument can either be pumped by a motor or by sheer force, literally by stepping or pressing on the large bellows. Together with Stephan Lutermann, the church's regular organist, I explored and pushed the sonic boundaries and possibilities of the Klausing organ - from the barely audible to the astonishingly raucous. While Stephan played the console, I served as the so-called calcant, or bellows blower, and in this role could decide the length and force of the air supply. Only four of the twelve parts are played with the help of the motor." - William Engelen

Since releasing his Caboclo EP on Big In Japan in May (support from Dom Sirvini Wah Wah 45s, BBC Radio 3 The Late Junction, Mixmag, Trax Magazine, and more), Lagartijeando (pronounced 'Lagar - ti - eh - hando') has packed in a European tour including sets at Fusion, Melt, The Yard (with Tim Garcia), Le Mellotron & more.

Synonymous with pushing the Latin electronic scene forwards with contemporaries Nicola Cruz and Chancha Via Circuito, he signed to ZZK records (Nicola Cruz) in '09 and went on to release on Waxploitaton (Gnarles Barkley), Wonderwheel (Nickodemus) where his album was in the Bandcamp top 100 albums of 2017.

Lagartijeando has now produced a very special EP with a choir from an indigenous tribe called Coro Qom Chelaalapi. The choir formed as a means of passing down their culture to future generations in the absence of any formal records. They have been declared a living cultural heritage by UNESCO.

Blending traditional songs with brooding beats and big grooves, The Revisión EP is a unique and special collaboration exploring the tribe's rich musical heritage with contemporary production.

The original songs have a mythology and their bespoke instruments have deep significances. The nivike is a single string violin (representing the sounds made by a jaguar sharpening its claws on a tree trunk) and was used as a form of communication to contact loved ones or to find love amongst the mountain dwellers.

Track 1 - Antiguos Dueños De Las Flechas (Ancient Owner Of Arrows); the dark brooding bass and haunting vocals tell the sad story of the Spanish conquistadores destroying local tribes' agriculture & way of life.

Track 2 - Lapacho - Lagartijeando lays down a big groove to accompany the choirs' infectious vocals. It is about a tree that when in bloom signifies the start of marriage season.

Track 3 - Zorro Zagas is about a fictitious character who takes advantage of other people. A rambling beat and the playful nivike are a reminder to the young not to take advantage of their fellow tribesmen.

Track 4 - Inti Che Remix - gives Antiguos Duesos De Las Flechas a minimal, bass heavy make-over that wouldn't be out of place on the Drive movie soundtrack.

Track 5 - Klik & Frik Remix (who have previously released on Waxploitation) have produced a down-tempo dreamscape around the choirs' vocals.

Track 6 - Ohxala Remix switches things up on Zorro Zagas and turns it into a deep house stomper.

NON Worldwide co-founder Nkisi rolls out an instant modern classic with '7 Directions' for UIQ. A masterful debut album informed by African Cosmology and Congolese rhythms, it's aesthetically comparable with music ranging from Æ's 'Incunabula' to The Connection Machine's 'Painless', Lee
Gamble hyperprisms and William Bennett's Cut Hands, but ultimately it's peerless in the (hyper)modern field...
Specifically referencing the writings of Kongo scholar Dr Kimbwandende Kia Bunseki Fu-Kiau and the African Cosmology of the Bantu-Kongo, '7 Directions' is offered as a gateway to hallucinatory mindstates via aerobic mysticism. Ultimately it is focussed on the idea that rhythm has the capacity to modulate and experiment with conditions of perception, and to disrupt predetermined expectations, and does so in the belief that new movements of energy can determine collective behaviour and generate new possibilities for knowledge production and dissemination - perhaps even supposing rhythm's potential for premonitory pattern recognition.
We fully concur with Nkisi's notions about dance music's potential for transferring and conveying energy, both negative/ecstatic, abstract/intuitive, so it's a rare pleasure to hear her limn those ideas so beautifully, effectively and open-endedly thru '7 Directions'. In each part she inimitably unlocks and retunes the body's rhythmic anticipation with breathless batteries of incredible polyrhythms that arguably make the majority of Western dance styles sound like rote line dance music for folk with little imagination in their bones.
In each direction Nkisi's drums writhe and rattle in a simultaneously ancient/futuristic style - ancient because they explicitly reference percussive traditions way older than Western
civilization, and futuristic because they've never been presented in this way before, alloyed with cosmic synth pads that draw lines from Detroit to the Lowlands and back to source, way out in the
cosmos. But rather than closed systems for study and analysis, Nkisi's trax feel like living, bristling organisms or virulent systems that only become activated with user participation, where those
ideas can begin to take root, grow and mutate via kinesis.
Even if you don't dance in public and save '7 Directions' for your living room/bedroom/holosphere, listeners will get the best out of this album by putting something in themselves, by shutting their
eyes and dancing with it.

Emotional Response is delighted to present elsewhere LVI. The 4th of soFa's compilation series, this double LP takes us to the darker side of the elsewhere ouvre, via another 12 artist / 12 track travelogue.

With certain future-retro feelings, this is club music for the open minded. An album that roams from dreamy ambient territories to rhythmic patterns - internationalism for the adventurous DJ.

Rusty slow-mo bangers and post-industrial synth-wave kidnap the listener to a dystopic and shady wasteland. Elements of ethnic folk, vintage vocoders and Gamelan samples all united on one homogeneous selection.

With artists now known to welcoming new brethren, this is an audio trip to leave reality behind. Exotic, hypnotic, tactile, trance-inducing meditations, washed down with a spoonful of magick.

Vaal announces the release of debut album 'Nosferatu' via new label Pale Blue Dot.

A dark, cinematic triumph, title track 'Nosferatu' was the first song to be released from the record, following a huge few years of touring and underground releases, including one of 2016's most ubiquitous tracks 'Wander To Hell' and 'Monument' on Afterlife.

Vaal has established a sterling reputation as one of the key members of the Afterlife family. Steadily cultivating a strong identity and sound, merging a crossover of techno and breaks, traces of 'Bachian' melodies and UK rave culture.

Two years after the milestone SOMEWHERE compilations, Something Happening Somewhere is commemorating the times that have passed, returning with a new chapter in the series. Selecting unique pieces of artists known and less known, the SOMEWHERE series continue their sound based confessional. Telling unheard stories, exposing unseen surfaces and unheard sounds.
SOMEWHERE III is set to be released as two vinyl samplers, with a selection of the tracks featured in the full digital compilations, which will feature four extra digital only tracks. A host of familiar SoHaSo figures make an appearance, but there is also room for new faces like Aril Brikha, KAAP, Ripperton in his stunning collab with Love over Entropy, Equus, Tracey and Mulder. Every artist on this SOMEWHERE III compilation is expressing their unique experience through sound waves, telling stories and uncovering a piece of themselves. There are things radiating in the violet fog, waiting to be discovered. Journeys that are worth making, but will not necessarily provide any more answers. Something is happening somewhere, once again.
Love over Entropy teaming up with Ripperton, could we wish for more It felt like a dream team combo before we even heard the resulting beauty of Saints de Glace. Inspired by those last nightly frosts of spring days in May, it sounds exactly like those contrasting temperatures and feelings. Down tempo organic grooves and a drifting melody that ebbs in and out of consciousness provide disparity with the glimmering pads that lure in the night air waiting to catch you off guard.
Equus' Ash picks up the pace with a track that was first released on Soma back in 1996, which we felt the need to give new live. Providing a Detroit like chord sequence and a simple but effective groove to accompany, it has a sense of urgency and shares the allure of classy dance floor material. Arik Brikha's disco fueled Eat The Heart feels like driving furiously along an electronic highway, the vibe and thrust imparting perfect sunbathed festival material. Filtered samples, driving arpeggios and house chord stabs, all the necessary ingredients are there to propel you towards a dimension far away from here.
A rolling bassline motif creates the fierce backbone for Tracey's Phase 1, as echo feedback waves in and out with phasing noise providing the necessary movement. The repetition and capitol Funk combined with subdued Juno pads and a hypnotizing melody turn the closing of the second SOMEWHERE IIII sampler into an effective dance floor weapon.

Wrapped in soul, blending poetry and polyrhythms, the music of Hiatus Kaiyote is in a lane all by itself. The Grammy-nominated four-piece band is set to return to stereos with their new album Choose Your Weapon.The 18-track, 70-minute odyssey from the Melbourne, Australia-based band takes listeners on a journey through the group's self-created ecosystem, populated with songs each embodying its own mini-cinematic sonic soundscape.

Wrapped in soul, blending poetry and polyrhythms, the music of Hiatus Kaiyote is in a lane all by itself. The Grammy-nominated four-piece band returns to stereos worldwide with their new album Choose Your Weapon.

The 18-track, 70-minute odyssey from the Melbourne, Australia-based band takes listeners on a journey through the group's self-created ecosystem, populated with songs each embodying its own mini-cinematic sonic soundscape. The album is the hotly anticipated follow-up to their celebrated 2013 debut album Tawk Tomahawk [MOVLP923]. Look for the band to tour across the globe in 2015.

Fans have already gotten a taste of what's to come on Choose Your Weapon by way of their December 2014 EP, By Fire, which featured three of the album's 18 tracks. ""By Fire" is a burial song," says frontwoman Nai Palm, about the personal track. "It discusses the creative and destructive forces of fire and uses this element as a reference point to express about my father passing away in a house fire."

High quality weirdo political pop from MB Jones (Jee Jee Band, EM Records) - sparse, quirky and strange with English and Korean vocals. TIP!
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Recorded in Busan, Republic of Korea by former US special agent MB Jones, ROK Spy documents both his stay in a country on the verge of a nuclear conflict and his mission there (for obvious confidential reasons, the purpose of this mission is only to be referred to in an elusive way). While most of his personal belongings have disappeared - or, more likely, been destroyed - we are very thankful for the safe receipt of a USB stick containing 7 songs recorded in Autumn 2017, alongside a drawing and a few handwritten notes. We are proud to now be able to share these with you.

In order to do so, we hastily came up with a label. The circumstances under which it was born lead us into calling it Drama'. This release is DRAMA1.

The content of this LP is a seemingly disparate set of pop-not-pop tunes, flirting with dance music on songs like the apocalyptical disco Nuclear War or the bizarre and mind puzzling boogie Pusan Perimeter. Though it is quite hard to put words on MB Jones's productions (one may accurately call it an oddball' of a record), his musical testimony may sit somewhere in-between Holger Czukay's most narrative pieces and Arthur Russel's most cheerful moments, sharing with these two brilliant musicians a genuine feeling of intimacy emanating from each second of his songs. The only thing that may be said without a doubt is that these 7 songs are the product of someone whose ear has been attentive and receptive to all sorts of contemporary musical genres (from trap to experimental electronic music and EDM).

It's still not clear whether the cryptic lyrics evoke situations which already occurred, whether they are oracles, some insider's warnings or whether they are the product of a mind in a hallucinatory state. On Poison Pill - the closing song - he is particularly ambiguous : the CIA bought me a trip / I put the tab under my lip / They want to build a shopping mall / On the DMZ wall'. We'll leave the interpretation to you'

PAM & Zaltan

Estimated shipping date: 18.01.2019

In 2012 Important Records released a historic 12 CD box set compiling much of Pauline Oliveros' early and unreleased electronic work. Reverberations 1 is the first release in an ongoing series dedicated to releasing the entire 12 CD box set on vinyl.

Organized chronologically by studio (here: Pauline Oliveros Home Electronic Music Studio, 1961 & San Francisco Tape Music Center, 1964-1966), the complete Reverberations not only documents Pauline's earliest electronic music but it also functions as an early history of electronic music itself.

Pauline Oliveros, composer, performer and humanitarian was an important pioneer in American Music. Acclaimed internationally, for four decades she explored found, forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it and it eludes many who try to write about it.

In partnership with the Pauline Oliveros Trust, Imprec will be releasing essential titles from Pauline Oliveros' catalog on vinyl including the complete Reverberations box set, Tara's Room, Sounding/Way (with Guy Klucevsek) and many more.

"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell

"Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." John Cage

Although Itta (Vocals, Harmonium) and Marqido (Analog Synthesizers) have been regular fixtures in Seoul's experimental music community for years, the vinyl release of Spiritual reflects the growing international recognition of their singular sound, described by The Wire as 'meditative synthesized vistas.' Spiritual certainly embodies the meditative element of their music, layering hypnotic modular synth with Indian harmonium drone and Itta's transcendental vocals. This is more than functional music for the metaphysically curious, however. Perhaps more than any of their previous releases, Spiritual offers an open accessibility, owing at least partly to the channeling of krautrock-influenced rhythms. Tracks like 'Luft' and 'Morgen Tempel' wouldn't sound out of place in any DJ set with kraut or psychedelic leanings, while 'Barabonda' and 'Dodeuri' dig deep into a more meditative place, serving as perfect expressions of the album's title and intent. Fans of Neu!, Kraftwerk, Laraaji or Klaus Schulze might find themselves in a comfortable yet unexplored place.

Spiritual was originally released in 2017 as a limited-edition cassette of 250 copies, produced in collaboration with Seendosi, an arts enterprise in Seoul Euljiro district, the city's heart of printing, packaging and electronics manufacturing. The cassette sold out within a year of its production, prompting Extra Noir, who had previously released Tengger's 'Breathe In, Breathe Out' on their Extra Noir Vol. 1 compilation, to propose reissuing Spiritual on vinyl. Working with Seendosi once again, the result is a beautifully produced piece of work. Closely attentive to the band's vision, the gatefold sleeve features rich landscape motifs that evoke Tengger's commitment to earthly travel and the less accessible places beyond. Pressed onto clear vinyl, the design of Spiritual has been carefully constructed to reflect the entirely unique music within: heavy ephemerality, dense transcendence and grounded wanderlust.

Born in 1977, Thomas Mahmoud is a Berlin based cross-disciplinary artist - musician, sound designer, performer, author and radioplay producer.

Since stepping down as the singer with Cologne based band Von Spar (L'age d'or, Tomlab), he has pursued his interests in deconstructing sounds, using analogue and digital tools to work with textures and field recordings. His installation and sound design work is renowned, not least his 48-hour opera with the Solistenensemble Kaleidoskop or his work with choreographer Kat Válastur at the Onassis Cultural Center in Athens.

Many musicians eras­e mis­takes - sta­tic pro­duced by tan­gled wires between the instru­ment and the ampli­fier painstak­ingly fil­tered-out, the ran­dom record­ing mis­takes deleted and corrected, until every­thing is pleas­antly plain. Oth­ers work with the waste of these pro­ce­dures, with the dis­pens­able, the sonic trash. This is how Mahmoud works. He lis­tens closely and grabs the hiss and the hum, not the tone, of a thick bass string. He samples the breath­ing, not the voice, of his favourite singers.

A collaborator by instinct, Mahmoud has worked with the likes of Can Khan Oral, Michael Wertmüller, Mouse on Mars, Birds Of Death, Jammin' Unit, Dr Walker, Marcus Schmickler and many more. "Univorm" is his most recent multimedia project, in collaboration with visual artist Stefan Fähler.

'In the summer of 2017, Kees Berkers (Baby Galaxy, YAYAYA) & Yves Lennertz (Bounty Island) started writing and recording songs in a ballet school in a remote village atthe foot of the Plateau of Doenrade near Alpaca Mountain. Being avid record collectors, with both members having a collection spanning almost every musical era and genre, details from many different genres seep through in their music.

Using South East Asian music from the 60 ´s and 70 ´s as a main inspiration, whilst also bringing their individual musical backgrounds and interests to the table, the recording spree resulted in a remarkable set of songs mixing world music, disco, funk and electronic music.'

BELLADONNA GRAVE is a new solo project from L.A, California. Past august 2018 has been released 2 mindblowing albums at the same time, 'Behind Despair' and 'Spiritual Death'. This double EP put together the best of the best of those majestic works. At ORACULO RECORDS we strongly think that we are more than probably in front of the cold synth / electronic record of the year. It arrives on ultra deluxe 2×12 EP format and produced in a ONE-OFF truly ultra extra limited edition of 200 copies lacquered pressed on 180 gr. high quality solid black vinyl, including inner big postcard with tracklist and a POSTER of BELLADONNA GRAVE's scan/copy based art. All tracks have been specially remastered for LONG CUT vinyl by Eric Van Wonterghem.

Cube is the prolific and chimeric nom de plume of one Adam Keith, formidable tape experimentalist and artist / abraser currently operating in Oakland, California's vibrant subterranea. After countless cassette releases, 2016's well-received My Cube LP and a tenure in no-wave faction Mansion, Keith reaffirms Cube's pledge with Decoy Street - his second album and the most developed work he has made under any guise to date.

Opener "In This House" serves as the ideal introduction to Cube: cellular interference, colliding circuitry, metal-on-metal grind and simplistic guitar distortion meet a towering and damaged beat. While "Habit" merges downtempo and industrial touchstones via layers of heavily treated vocals, "Sanctuary" tilts further towards propulsion - a dark treatise on discomfort, yet contagious enough to charm DIY and post-punk devotees.

Released on W.25TH, Superior Viaduct's sub-label for contemporary bands, Decoy Street is recommended for fans of Prurient, Puce Mary and Alan Vega.

Multi-platinum selling Australian alt-electro pioneers Empire Of The Sun (Luke Steele & Nick Littlemore) celebrate the tenth anniversary of their multiple-ARIA-award winning debut album 'Walking On A Dream' with the release of a limited edition vinyl product on Captiol Records/EMI Music Australia, the first vinyl release of the album in over three years. The product includes:

A gatefold, 180 gram heavyweight vinyl of Walking On A Dream on transparent blood orange vinyl.

The original artwork from the initial 2009 vinyl release.

A unique code to download the previously unreleased track 'Chrysalis'.

After a musical break of ten years, Franck Sarrio celebrates his great return on RADIO MARS with four original tracks half way between Electro and Techno genres. For his new EP on French label, hopefully the second of a long series, the Clermont-Ferrand based artist delivers a funky and cosmic trip of his typical trademark. Alternating between cerebral and epic dance floor cuts of pure anthology, 'Army Of Robots' deploys an impressive musical weaponry whose crystal clear and robotic sound will not leave you indifferent.

Having made his first Dark-wave and industrial steps on mythic Bunker imprint in 2003, then inaugurated with 'Secret Industry' the first outing of his own FSS label in 2005, Franck returns today to an powerful electro tinted with Detroit influences (Dopplereffekt, Aux 88, Cybotron). The author of essential 'Robotic Invasion EP' on RADIO MARS in 2008 also appeared on various compilations including 'SOM compilation' and 'SOM compilation 5' from the mighty Solar One Music run by Nico Jagiella along with Robert Witschakowski aka The Exaltics.

Traveling without moving, at the speed of thought!

Debut release by newcomer Glyn Hendry on Overmono's Poly Kicks label.

Hailing from Nuneaton, England, Kevin Harrison recorded both solo and collaboratively throughout the late '70s and early '80s. While his early recordings would come out in hyper-limited editions or go unreleased for decades, Inscrutably Obvious remains his sole LP - a lost gem of Britian's '80s cassette culture and DIY bedroom aesthetics.

Originally released in 1981, Inscrutably Obvious covers a lot of ground on its seventeen inscrutable tracks - from analog synth workouts to mutated disco and shimmering guitar improvisations. The album maintains a late-night vibe, filtered through a post-punk lens.

Harrison clearly wears his influences on his sleeve - major debts are paid to Brian Eno, Robert Fripp and Manuel Gottsching - yet finds his own unique voice, combining quirky instrumentals and surrealist sensibilities.

This first-time reissue is recommended for fans of Chris & Cosey, Cupol and The Normal. Inscrutably Obvious sounds as fresh today as it must have nearly 40 years ago.