Beats News

Soundings, his debut studio album for Touch (he previously released the live album 'Floodlines' in 2016 and re-issued 'Below Sea Level' in 2017), finds Simon Scott, the composer and sound ecologist, using field recordings from various cities around the globe; modular synthesizer treatments; live strings and laptop electronics to create an album of transition and shifting time zones. The recordings were edited and composed in hotels rooms across the world as Scott was constantly on tour as the drummer for Slowdive, who successfully reformed in 2014.

Hodos, the album opener, begins with 85 mph Storm Barney recordings, ending with the fading sounds of bellbirds and cicadas recorded in Brisbane 2018. 'I took a home recording I made of Storm Barney in Cambridge, listening to it on repeat when I was flying from continent to continent. I wanted this to be the starting point of the process of musically documenting how much travelling I was doing'. This album was created from the US to Asia, South America to Europe and the Arctic Circle back to the UK via California. 'Working in hotel rooms and on flights, listening to and editing the recordings I'd made from all of these distant cities formed the basis of the album. It's the soundtrack to four years of my life in flux with constant change, jet lag, excitement and the seeming perpetual motion of travelling'.

This album contains seven compositions, created by the Opening Performance Orchestra, Blixa Bargeld, Luciano Chessa and Fred Möpert. All the pieces relate to the theme of Futurism and employ intonarumori, instruments invented and used more than a century ago by the Italian Futurists in their noise compositions.

"In antiquity, life was nothing but silence." "Today noise reigns supreme over human sensibility."

The Art of Noises, pertained to the entire 20th century. Published in 1913, in response to Francesco Balilla Pratella's Manifesto of Futurist Musicians, Russolo's text encompassed the fundamental ideas for the new music of the modern age. Radical ideas required original compositional approaches, as well as new types of instruments - hence the Futurists opted for the intonarumori. The two quotations prompted us to give thought to creating compositions in which we would return to the early 20th century, when noises as means of musical expression emerged for the very first time. The typical instruments used by our ensemble, the Opening Performance Orchestra, are laptops, by means of which we conceive our fraction music, which can be briefly characterised by the slogan no melody no rhythm no harmony. Constructing three intonarumori, writing our own pieces for these instruments and performing works by other contemporary composers - Blixa Bargeld, Luciano Chessa and Fred Möpert, represented for us getting into close contact with the beginnings of the musical avant-garde, as well as returning to the historical roots of the music that had served as the basis of noise in art.

Basic Rhythm arrives on Arcola following two killer albums for Type and one as East Man for Planet Mu. Up top, 'Dough Boy' rolls a tough LFO heavy dance floor number that is sure to mash heads up everywhere it is deployed, while the anthemic 'Can't You See' shifts between early AI synths and an ambient dancehall vibe that while it has its roots in early 90's jungle and hardcore, has its sight fixed firmly on the future."

Made in the Designers Republic. 12" EP house in full print outer sleeve with clear foil detailing and custom die-cut holes plus custom print inner sleeve.
Mastered and cut by Beau at Ten Eight Seven.
Limited to 500 units worldwide

BurningTapes brings forth from the lake an eerie score of heavy filtering analogue synths and guitar manipulations in the score to the haunting and demonic 2019 film Black Lake by K/XI. Dripping in glassy cold reverb and abrasive Moog. Prepare for an uneasy listen.

Dutch duo interbellum steps up with a remarkable improvised organic electro-acoustic ambient works. One of the best Vrystaete to date.

Hollow Earth is the new album from Pye Corner Audio aka Martin Jenkins, his third for Ghost Box. It's conceived as a sequel to 2016's Stasis. Where Stasis played with notions of outward cosmic exploration and the idea of suspended animation and sleep, Hollow Earth takes subterranean exploration and submerged psychologies as its theme.

It draws on Berlin school synth improvisations, New Age reveries and the ghosts of 90s house euphoria to summon up images of vast, awe inspiring spaces and claustrophobic chambers. It sustains an atmosphere of wonder and adventure throughout, and like its companion piece, Stasis, it works equally as a soundtrack to physical as well as mental exploration.

Pye Corner Audio specialise in majestic, cinematic electronica that evokes sci-fi soundtracks, dystopian futures and the sound of haunted dance floors. The discography to date includes eight full length albums and many more singles and EPs across several labels. There are also remixes for John Foxx, Mogwai, Mark Lanegan, Stealing Sheep, Knightstown, Not Waving and most recently Dolphin Midwives.

Pye Corner's Martin Jenkins (aka The Head Technician) is a veteran live performer, and has played shows and festivals all over Europe, Canada and the USA. Most notably he has supported Mogwai on several tour dates, played the Mutek festival in Montreal, the Mugako Festival in Spain and Barcelona's Primavera Club.

Pye Corner Audio pieces appear in the soundtrack to Adam Curtis's 2016 film HyperNormalisation and the 2018 Shudder TV series, Deadwax. More TV soundtrack appearances are due to appear in 2019.

Second release from Twin Womb after last year's incredible "Aeons Revolve" 12". 21 tracks, hand-numbered (very) limited edition cassette. Comes with sticker.

The latest episode on Piezo's no nonsense, hand stamped and heart warmed Ansia label has arrived! ANSIA003 is the follow up to his early 2018 'Parrots EP' and for this release the Milanese producer has enlisted 3 other disparate yet like minded artists to let loose on this monster 4 tracker. StabUdown Productions (James Donadio aka Prostitutes) kicks it off with the opener 'FyeRRR!' A deadly burst of blown out ragga replete with an arsenal of kicks and vocal cut up shrapnel. Next up label head Piezo drops 'OiOiOi', a masterwork of electro gated basslines, jungle breaks and absurd delay feedbacks. A perfect continuation of the surrealistic/abstract path started by tunes like 'All My Money' on 'Parrots EP'. Fresh off his Lobster Theremin's album, Kreggo/G-23 (Super Rhythm Trax, Secret Rave, Art-Aud) delivers 'Ligeti': a flat out mover with it's skittering percussion and deep haunted stabs hovering around the supernatural subs. It all finishes up with Bristol's Facta, whose releases on Idle Hands, Livity Sound and his own excellent Wisdom Teeth really needs little introduction. 'Not Now' is an elastic, low gravity heavy hitter that snakes through bass bins and before you know it, you're completely wrapped.

Born in 1974, Aymeric de Tapol is a composer living in Brussels. He writes scores for contemporary dance projects, cinema, radio, and aims to tell stories through his audio creations and recordings. His music has been played on The Word Radio, Radio Panik, and NTS in shows including The Hot Selection, featured first on 26 July 2015. Songs played include 'La ronde des beaux yeux', 'J'ai dansé avec elle' and 'Les attractions'. He is a prolific producer of audio across styles and mediums.

The double 7-inch, BOMBINA, is Aymeric de Tapol's third release for Ångstrom Records. Each track evokes a different compositional mood, although the entire release can nicely fit into the traditions of drone & continuous music.

BENJAMIN FINGER, JAMES PLOTKIN and MIA ZABELKA craft a mesmerizing sonic world that buzzes and drones, glitches and slithers, eventually careening into unexplored musical territory.

"Pleasure-Voltage" was born in the mind (and studio) of BENJAMIN FINGER - a composer, electronic music producer, DJ, photographer and film-maker based in Oslo / Norway who in recent years has become quite a prolific artist, expanding his stylistic palette from piano miniatures and off-kilter pop experiments to lysergic, dream-like sound collages spiced with gentle warmth and sublime melody. These ingredients are also characteristic on this latest work where FINGER set the musical frame before passing it on to his inspired collaborators: MIA ZABELKA who for decades now has been involved in countless projects, be it as musician (violin / electronics), curator or founder of the international sound art centre klang.haus and who has worked with a.o. JOHN ZORN, FRED FRITH, ELECTRIC INDIGO, ROBIN RIMBAUD (SCANNER), DÄLEK or PHIL MINTON. And last but not least there's JAMES PLOTKIN who entered the scene with his first band OLD LADY DRIVERS (or OLD) on EARACHE in 1987 and later was a member of KHANATE (with a.o. STEPHEN O'MALLEY) while also exploring the areas of dark ambient and electronics by working with or remixing SCORN / MICK HARRIS, K.K: NULL and many more.

On "Pleasure-Voltage" which had its live-premiere at the REWIRE festival 2018, the trio craftsa mesmerizing sonic world that buzzes and drones, glitches and slithers, eventually careening into unexplored musical territory somewhere between ambient / drone / psychedelia.

Kicking off 2019 for Idle Hands comes a release from K-LONE, boss of the Wisdom Teeth label alongside Facta.

Two tracks in a classic IH style. Dub and Garage influences to the fore, broken House vibes.

Khalab's 'Album of The Year' has been re-worked!

Ahead of a full remix LP (Summer 2019) On the Corner have opened the vault on 2019 hitters.
This 12' scorches the terrain built by 'Black Noise 2084'.
Hieroglyphic Being dominates the dancefloor with his 10 min sweater.
Afrikan Sciences launch off from Khalab's afrocentric soundscapes into a futuristic cosmos.
Blood, Wine or Honey strip it back, break it down and leave bassments trembling with the
weighty jungle blows.

After a stellar year for Khalab and On the Corner these three remixes bring knock-out blows
for 2019 dancefloors.

Hieroglyphic Being's 10 min sledgehammer shakes the floor as the mythical producer runs a
profound groove with three 808s pummelling the spine of Khalab's track.

On the B side, Afrikan Sciences uses the Afrocentric theme of the original to strip it back and
propel it into the cosmos.

Khalab's 'Black Noise 2084' has already racked up 'Album of the Year' status and we're giving
you a first glimpse of this earth scorching, dance destroyer that will prepare an onslaught for
2019.

'Although discrete, the career of saxophonist Philippe Maté includes nonetheless several indispensable albums: be it with the Acting Trio, Jean Guérin (Tacet) or Jef Gilson (Workshop), his collaborations in a big band or quartet with Lawrence "Butch" Morris, his presence in the Saxophone Quartetand also on the brilliant L'Enfant assassin des mouches by Jean-Claude Vannier.

As for the man in the background, Daniel Vallancien, a sound engineer rarely featuring on the sleeves, the collection Actuel on the BYG label owes much to him (he is at the controls behind Anthony Braxton, Don Cherry, Sonny Sharrock or Steve Lacy), the same goes for Saravah for who he notably recorded Areski,Brigitte Fontaine, Maurice Lemaître or the Cohelmec Ensemble: not bad for starters! What is more, Daniel Vallancien is one of a prestigious group of French recording engineers with open ears and often themselves musicians, even if only occasionally for some, including Bruno Menny, Daniel Deshays or Jean-Marc Foussat, who have all recorded remarkable albums as leaders. Behind this collaboration was the idea of creating music which was free, direct and spontaneous, while having also a minimum of advance planning. Music, according to the brief liner notes, desires to "remove itself from long and patient laboratory experiments ". So there can be found here none of the sophisticated tools associated with electroacoustic research, but mainly a recording mixer console, which, in the hands of Daniel Vallancien acts directly on the original instrumental sound in real time, modifying and multiplying it while respecting the natural flow.

Be it Paul Méfano, Betsy Jolas, Gérard Grisey or Jacques Lejeune, many contemporary composers working in France have, at one time or another, included the saxophone in their work. Michel Redolfi, for example, with the GRIM and then the CIRM , experimented with saxophonist André Jaume on a convincing recording (Hardscore). Nothing, however, can compare to the singularity of the dialogue between Philippe Maté and Daniel Vallancien, which they themselves describe as being "serious, sarcastic or humorous", with, here and there, "disturbing sounds". Words, however, even those used by the protagonists themselves, are insufficient to describe such a sonic object, difficult to identify and, it has to be said, extraordinary.'

3 Rough and ready discotheque weapons, thought to be long lost, but now back on the streets for your DJ bag. Super limited vinyl only pressing. Early support from: Ben UFO, Midland, Gilb'R, DJ Nature, The Maghreban, Joe, Erol Alkan & more.

From a discarded CDR, rediscovered in a dark corner in a sun kissed flea market in Versailles we bring you some rare and unheard personal edits from the archives of the city's Pierre Yves Marie. A name not familiar to many, Pierre was a locally known DJ and switched-on music lover whose interests in Disco, Italo, HI-NRG and early house sounds led him to visit the USA - particularly the midwest - numerous times throughout the late 80's and early 90's. It was here, inspired by the DJ's he heard firsthand in Chicago, Detroit and other places he visited that he became inspired to create his own versions and mixes of tracks to play at his small Disco parties at the city's "Les Caves Du Roi", an intimate club space that allowed Pierre to create his own atmosphere where he attracted a hedonistic, stylish and very mixed crowd to hear him play. These edits were rediscovered a few years back, languishing in a shoebox at said flea-market, dumped after Pierre's struggles with the 'party life' in the late 1990's and he was eventually tracked down via some solid detective work and local knowledge. He has, after much discussion, very kindly allowed a limited amount of these unique DJ tools to be pressed onto wax. Being a keen follower of technology, he had originally transferred his reels and tape edits onto CDR's in the early 1990's, which lends a lo-fi and raw vibe to these edits. We feel this surely adds charm and beauty to these roughly hewn personal mixes and we are lucky to be able to share in this small piece of history.

Introducing T-Flex London based artist and visual designer. Discovered when Datassette dropped one of his WIPs at the null+void Recordings launch party, there was an instant hook on his playful and intelligent sound. We're super honoured to be able to give his productions their first official home and cut to vinyl.

It's a bold and exciting debut - showing of a flair for pairing deep sub-bass with quirky off kilter rhythms and grooves. This from someone who's embedded himself in London's musical world - avidly following what's going on and interpreting it with a fresh new take.

Artwork by T-Flex. Mastered and cut by Keith Tenniswood at Curve Pusher.

'Transcendence' serves to illuminate a burning playing field of ideas. Converging acoustic and high register digital manipulation, poetry and transformative soundscapes to form a haunting veil over a dynamic sphere of sound and words. Opening track 'Petrol' an intense poem that lists twenty-seven violent attacks in and around London, "twenty-seven survives but now feels out of place with the seismic shift - originally featured on 'Euthanasia Party / Twenty Seven'.'Jhonn' a homage to the great Jhonn Balance from Coil slowly rises from feedback with weightless melodies. 'War Text' automatic percussion turns to delirium over organs & soft-spoken lyrics "Lots of things trembling, the vase on the counter, the fake flowers".'Deity' delicate hymns transform into mechanical turmoil. 'Durchreise' static showers veil techno intervals through a cold soundscape. 'New World' Ascending arps & guitar riffs meshed with delicate choirs. Closing the LP is 'Gar' a synthetic organism that blurs the lines of A.I.

Ay, caramba! Tropical dandy Rick Shiver's hot-yet-cool solo debut. The A-side has a sweet cha-cha de amor, take the chill of your chili and blush several shades of picante. The B-side adds some mariachi vibes for a 'stripped to the bone' dub. Blame it on the chili. Spicy!

Techno Thriller joins the Unknown Precept fam with a brand new mini-album. The first following the release of their eponymous full-length album a couple of months ago. Based in Brussels, although now relocating themselves in Marseille, France, the four-handed formation has steadily been crafting cybernated Gothic music over the past years. Recorded a few months back while drawing its inspiration from dark dungeons and occult folklore, not without evocative titles, Enfant de Sodome feels as muscular and thrilling as their live performances usually imply. Compelling murky synthpunk and industrial machinery colliding in fervor and howls. Free falling tumultuous bass lines lacerated by ominous muffled groans. Bone-bending primitive techno music catapulted over the walls in the most urgent fashion. At the end, it very much feels like trying to dance on some sort of cryptic electronic body music in a heavy chain-mail.

LP 1 ist das Debütalbum von AIRCHINA, dem jüngstes Projekt von Nikolai Szymanski - Komponist, Sänger, Elektroniker und Umschlagkünstler von Stabil Elite aus Düsseldorf. Pluckernd analoge Rhythmik, subtraktive Synthese und Softwaresynths. Melodien schichten sich licht in asiatisch anmutendem Gewand. Aber nicht so einfach: ein fremder Blick. Eine Idee von Japan. 1983, 84, 85. Getrennt durch Raum und Zeit. Von hier aus gesehen, Düsseldorf. Signale, wie sie Pyrolator empfing, Tokyo, wie es Hosono Haruomi und Ryuichi Sakamoto beschrieben. Ambient-instrumentale Eleganz, Kammerstücke, Miniaturen, Popschönheit - wer Namen braucht: The Orb, Ultramarine oder auch Oneohtrix Point Never im Sinne.

LP 1 is the debut album of AIRCHINA, the latest project by Nikolai Szymanski - composer, singer, electronic musician and cover designer of german neo-kraut band Stabil Elite from Dusseldorf. Plucking analog rhythms, subtractive synthesis and software synths. Melodies layer light in asian-sounding scapes. But not so easy: A strange view. An idea of Japan. 1983, 84, 85. Separated by space and time. Seen from here, Dusseldorf. Signals as Pyrolator received them, Tokyo, as described by Hosono Haruomi and Ryuichi Sakamoto. Ambient-instrumental elegance, chamber pieces, miniatures, pop beauty - who needs names: The Orb, Ultramarine or Oneohtrix Point Never.

Following the 'Screaming Ghosts' collection highlighting the music of C Cat Trance, Emotional Rescue and Malka Tuti return with the first of two EPs where the band's music is given over to a selection of artists, friends and collaborators for reinterpretation, re-editing, replaying and remixing to provide a modern outlook on the bands mixture of East meets West musicology.
Very much the vision of Malka Tuti and close to their ground-breaking releases of the last two years, the genius is out of the bottle with a who's who representing both labels. First, Autarkic go supergroup in enlisting Tel Aviv's White Screen for a cover of Screaming (To Be With You). Totally replayed, this is the perfect opening, with wide-screen production, updated arrangement and decimal delivering vocals setting the standard.
Following comes an effusive, simple and on-point remix of Dalbouka by the inspiring ledge that is JD Twitch. Platitudes aside - enough has been said by others - but the fact Twitch is as enthusiastic and driven as ever is testament enough. The simplicity and genius of his rework, where 909 is added alongside fx to speaker shaking effect, shows that less can be much more.
In Sneaker (DJ) we have a name moving steadily from the (cult) periphery to become one to consistently check and respect. Following EPs for Rat Life and Bahnsteig 23, the singularity of his reversion is audacious and entrancing. Brevity, purity and ultimately intensity of percussion, horns, bell and guitar. Enter.
To end volume 1 comes Die Orangen. Kris Baha and Dreems' bromance of Aussie label (red) heads, united in post-industrial explorations. With a deep, expansive album incoming on Malka Tuti, their brooding, rattling, ghostly mix is one for late night thinkers, that steps up to encapsulate an EP that successfully marries old and new, bringing C Cat Trance's music present.

The soundtrack to Doki Doki Literature Club transforms and morphs as much as the game itself. The music is so directly evocative of an entire genre - the Japanese Dating Simulation - with its resoundingly quirky and upbeat tone, while also veering into territory that is almost impossible to encapsulate. In moments, those pastel notes of sunshine and cuteness turn into somber, emotional and deeply-wrought darkness/weirdness/something else. Therein lies the secret to this album's success - it is a brilliant exercise in the complete surrender of your soul. Very few soundtracks achieve such a feat, whereas Doki Doki does it with surprising and striking success.

Experimental lute player Jozef Van Wissem and acclaimed film director and musician Jim Jarmusch have a working relationship that dates back to 2006, when they ran into each other on the street in New York City and quickly struck up a friendship. Van Wissem contributed to the soundtrack for Jarmusch's 2013 movie Only Lovers Left Alive, and the two have collaborated on three previous studio albums — Apokatastasis, Concerning the Entrance Into Eternity, and The Mystery of Heaven. An Attempt to Draw Aside the Veil is their second release as a duo for Sacred Bones Records, following The Mystery of Heaven, and its narrative picks up where that album left off.

Like The Mystery of Heaven, An Attempt to Draw Aside the Veil delves into the theology of William Blake and Emanuel Swedenborg, this time also exploring the work of Russian occultist and philosopher Helena Blavatsky. The album is mostly instrumental, so the dialogue between the esoteric thinkers who inspired it and Van Wissem and Jarmusch is expressed primarily in the song titles — fittingly arcane phrases like 'Concerning the White Horse,' 'The Two Paths,' 'When the Sun Rises Do You Not See A Round Disc of Fire.'

As Metronomy work on their forthcoming sixth album, they take a moment to reflect on the 10th anniversary of their breakthrough album 'Nights Out'. Metronomy's Joseph Mount has delved into the archives for 'Nights Out: 10th Anniversary Edition' which will be released on February 8th on Because Music.

It features the original critically acclaimed album alongside a second LP which expands upon Mount's vision with a set of unreleased demos, rarities and b-sides - many of which make their first appearance on vinyl. Two of the highlights come with alternative versions which have become staples of the Metronomy live set: a bedtime dub version of 'Holiday' which takes it into a darker, glitchier direction, and a French-language version of 'Heartbreaker'.

Mount's Francophile leanings are also explored in Breakbot's remix of 'A Thing For Me', which contrasts French touch vibes with Mount's distinctly English-accented vocals. Previously issued on an exclusive Rough Trade bonus disc, 'Over' is an instrumental of cinematic scale, while the disc closes with four previously unreleased demos including the leftfield minimalism of 'Das Booty'.

Although Metronomy's 2006's debut album 'Pip Paine (Pay The £5000 You Owe)' was discovered by those in the know, it was 'Nights Out' that captured the imagination of a much wider audience. Mount achieved the seemingly impossible: he highlighted both the joyous atmosphere of a big night out and a taste of the resultant comedown in a set that playfully veered towards being a concept album.

About Nights Out Joseph Mount says: 'Oscar reminded me the other day how I said to him on completing Radio Ladio 'I think I've just written my first number 1'. I hadn't. We also reminisced about the day we borrowed the Honda Insight for the album artwork: I found the owner on an enthusiast chat room, we gave his daughter two Kate Nash tickets and a meet and greet with Kate in exchange for a few shots with the vehicle... simpler times. Shout out to Myspace.'

Metronomy's most recent album 'Summer 08' was released in 2016 to widespread critical acclaim. DIY described it as a 'pure-pop odyssey' and NME concluded, 'Mount has done it again. He could write music about the impact of Brexit on the UK's trade with China and make it sound amazing. He's that good.'

Metronomy bring 2018 to a close when they play Edinburgh's Hogmanay Street Party on December 31st. The 65,000 capacity show is headlined by Franz Ferdinand and completed by Free Love.

Promising/Youngster is the moniker for the Spanish artist Diego Cadierno. This new project arises from the need of rolling out his creations away from (but not far of) the dancefloor. Crunchy bases, fat basses, dreamy pads and analog and digital instrumentation join to form a landscape that could be named as a cross among IDM, Downtempo, Ambient and Shoegaze. The sound of Begin Again surrounds you in a distant world, it moves you to a place outside our planet Earth and touches you so deeply that you can almost feel the sound as tangible moment. This album contains a getaway of emotions, leaving IDM, melodic breaks, ambient sounds and shoegazers guitars as remote inspirations, perhaps as possible starting points. Julien Mier continues with the game of connections between the albums of the label by adding his particular and delicate sound with his remix. For this fourth reference, we have the Reykjavik606 duo and the producer Ylia as guest artists who enrich the sound of the album with their contributions. — 'Sin Hilo' means No Thread. We define our music as electronic music of untouchable rhythm and touching filament. Sin Hilo Records is our way of claiming music without ties, based on vocation, affection and the need for returning to craft work. We care about artists and we work based on mutual trust and unconditional respect.

The second part of the 'In Another Land' trilogy can be considered as the indispensable conceptual antipode to Part I. It's everything that Part I is not and vice versa. It's sculptural and it's not pursuing the idea of development, but it's neither static nor repetitive: The mostly short pieces, consisting of heavily treated snippets of recorded (electro-) acoustic instruments are circling around themselves, always aiming to show their core idea to the listener. The thing is the thing is the thing is the thing... just the perspective is changing.

In 2007 Smith & Mudd's first album - Blue River - came out as a CD release. It's now been fully remastered by Simon Francis and will be released on a hand numbered limited edition gatefold LP.

"Blue River is a spine-tingling and evocative mixture of the organic and the electronic, the past and the future. It's an album you will want to hear again and again and as you listen more you will begin to notice the subtlety of the production, the clarity of the guitars, the warmth of the bass guitars, even the vivid colours the music paints in your mind while you listen. Blue River is a beautiful collaboration between Paul 'Mudd' Murphy and Ben Smith and features some incredible guitar work from Bob Klose, a founding member of Pink Floyd"

Rekordfahrt Negativ - Folge 2 is a compilation of minimal wave and 80ies synth tracks compiled by FKK Schallplatten Förderung Kosmischer Kunst

RAMP is proud to welcome Visionist through it's esteemed halls.
*Appearing on the scene in 2011, new school Grime producer Visionist's dark, stripped down, emotive sound has won fans from Oneman, Benji B, Kode 9 and Pearson Sound to fellow RAMP artist Zomby. Visionist arrives on RAMP with "M" & " Secrets".

Little Beat Different deliver another album-length release, this time, it's a young hardworking Italian Davide, found in the deepest abysses of Soundcloud, providing tracks that are beyond conventional forms of house music and techno, ranging somewhere between ancient ritual rhythms and early morning afterparty club beats. As a bonus, Aussie newcomer (or is he) Hence Therefore, who with every single one of his releases shapes up his unique sound, comes up with his trippy take on UK bass with his remix of Waiting Grounds.

On Epitaph things are different - Jay's voice croons crystalline over goth futurism for the first time on record (if you haven't heard of Ku....) - he sings one of the oldest Greek songs ever written and has spent the last year doing impromptu vocal covers of Tricky tracks in Cambridge pubs. And did you notice the tracks don't have dub in the title any more

This the first proper propersolo LP from Jay Glass Dubs - a widescreen vision of 4AD nightmares, ballads for River Styx crossings and echoes that never end. It's This Mortal Coil if they knew about dungeon synth and Metalheadz and still thought dub techno was boring as fuck.

Epitaph follows his 2LP retrospective of 'the tape years' 'Dubs', on Not Waving's Ecstatic Recordings; and his 12" mini-LP with Leslie Winer on Bokeh early in 2018. It's his 5th and no way final release for Bokeh (do you remember BKV 002 the slowest dancehall mixtape ever made) Realised with help of Greek vocalist and performing artist Yorgia Karidi and a special saxophone guest spot from Ben Vince (Curl, Where To Now, Hessle Audio). Bokeh graphic visionary Patrick Savile's sensually airbrushed and peeled lemon closes this funeral casket of all the things you thought you knew about Jay Glass Dubs.

Myriam Bleau is a composer, digital artist and performer based in Montreal. She creates audiovisual systems that go beyond the screen, such as sound installations and performance-specific musical interfaces. Her hybrid electronic practice explores music performance as a codified cultural manifestation and recontextualizes pop culture elements and music history tropes. For 'Lumens & Profits' Myriam has exported this ethos towards pure sound design, deconstructing a palette of familiar musical forms into 8 pieces of wandering, weightless movements; where Vocal samples and percussive rushes launch themselves from empty space, repeatedly shattering any vibe you were about to ease yourself into. Rhythms scatter, violently collapse, and pick themselves up again grinning with hands aloft, sprinting towards the light.

This is the sound of an artist who clearly has a deep interest in modern tropes of UK bass music and contempory electronic composition, but due to Myriam's historical grounding as a tactile, experimental audio visual artist these genres become uniquely filtered through a performative, Musique Concrete focused lens. In this sense the pieces end up as somewhat hybrids, absorbing Myriam's rich performance based musical history and sweeping into the mix the outer corners of avant garde 80's sampler experiments, Hip-Hop Turntablism, and classical elements. With 'Lumens & Profits' Myriam has managed to create something which sounds distinctly fresh in approach, whilst managing to playfully & respectfully nod towards a tidal wave of cultural movements.

'Lumens & Profits' is heavily influenced by Myriam's own 'Musical Spinning Top' A/V performance 'Soft Revolvers' (viewing a section of the spellbinding performance does the piece far greater justice than I could ever try to clumsily put into words). Whilst inspiration was gleamed from the performance Myriam is keen to separate the two projects, explaining - 'While composing these pieces, I was very occupied by the idea of modulated speed or tempo that came from my spinning top performance. Seeing instruments on different tempos that fluctuate rather than run on different strict patterns. I tried to imagine freely moving instrumental lines that only momentarily align, rather than a grid or tempo that would control all the elements. A lot of the pieces rely on algorithmic arpeggiation (custom max patches), as a way to create processes that control the speed and timbral width of sounds dynamically.'

Fans of Lee Gamble, Tomoko Sauvage, Mark Fell, RKSS, Holly Herndon, Christian Marclay take note here, dive in and get lost.

Finally the vinly edition of this great album originally released in 2013. Limited Edition honey yellow clear vinyl.

For this long-player, Mac has harked back to the good ol' days of analog, employing numerous vintage instruments to create a wholly electronic yet warm, soulful sound.

Marc's Detroit techno influences are ever present on this release, with more than a hint of that unmistakable 4Hero vibe. That said, there is something that makes 'The Third Adam' undefinable - is it house, is it hip-hop, is it beats, funk or electro Who knows - but that's what makes it so remarkable - it's in a genre all its own. There are few artists out there that can draw heart-warming soul from cold, dusty electronics like Marc Mac can.

Stop Look Listen

Following his 2017 solo debut EP, "Resisting in the Darkness", Tyler Dancer takes a step toward the light in his second outing for DBA, "62 Miles High".

Written in Hasselt, Belgium, "62 Miles High" finds the Shake-collaborator drawing upon his Detroit and Midwest influences to reveal another page from his sonic journey.

Supercharger head honcho Black Orchid goes in for some seriously deep and authentic sounding
breakbeat driven D&B under his Ark X moniker. X2LV is basically the perfect representation of the
vibe Diamond Life was set up for in the first place: lush pads, solid beats and a slightly euphoric yet
melancholic feel throughout.

On the flip Myor Massiv and Diamond Life stalwart FFF drops one of his prettiest cuts to date.
Know How showcases the breakcore legend's ability to keep things sparse and beautiful, a slow
burner of epic proportions.

Hailing from Suuns, Canadian Ben Shemie offers up his first solo work, A Skeleton. An experimental pop album of cold synthetic sounds with touches of psychedelia.

Based on his live, itinerant experiments, the whole album was recorded in a single take with no overdub. Shemie has left traces of the atmosphere of each recording space, adding an element of chaos and unpredictability alongside his masterful/dexterous manipulation of the equipment.

The voices and instruments sound as if they were drawn from a not-too-distant future in which artificial intelligence has taken over human life and mutated into an artist. The album recounts the random wanderings and metaphysical rêveries of a skeleton - the fantasy muse of the machine, devoid of sex or race, a neutral entity.

The refined, minimal sonic narration is executed with astonishing precision and sensitivity. With A Skeleton, Shemie has definitely painted us a refreshing avant-garde picture.

The Sickness continues

Introducing the 3rd Myor sublabel, Faces Of Bass is all about the 4x4 hardcore styles. Knock Out has a rather rushy feel to it: the combination of high pitched, repetitive key riffs, acid bleeps and layered breakbeats, supported by 4x4 kickdrums and enough low end to rattle your trunk carries the tune deep into heyday UK Rave territory. The Dutchman's gabber roots are slightly more evident on My Bizz, which features a harder, more distorted bassdrum, relentless Juno synth retriggering, rap slapper vocals and ruffneck Amen patterns, making for a hardcore jam that wouldn't have sounded out of place at a 1995 edition of Thunderdome.