Beats News

This record was created for the space age lounge, a technomystical chill room in Goa, India.

A misty glow flows along the recumbent silhouette of Kayla Guthrie's new ep, FALLING STAR. This is the body of the artist as aural ghost, her figure lit by shuddering rhythms and synthesized echoes, and she knows what she is doing when she stands in front of that light. Not only did she build it but she has written all about it, gathered the notes and transcribed the lyrics onto paper that is as sunshine. Guthrie is dazed and dazzling with so much light, yet the clouds roll in toward the light every time. Her translucent voice lifts your hem and so tender is her bite, so weird, so intense. This is new music spinning fast in a dance with archangels (Jarboe, Cocteau Twins, Lydia Tomkiw and Leslie Winer) and barreling straight through heaven's gate.

Mixed by Ben Greenberg. Cut by Josh Bonati. Photography by Lena Shkoda, lettering by Will Sheldon. Edition of 200.

Raw formed during the summer of 1990 in Athens, Greece when keyboardist Giannis Papaioannou and percussionist Makis Faros started composing music for imaginary waiting rooms. They combined the traditional cut-up technique of tape-loops, the industrial timbres of musique concrète with the harmonics of world music, all filtered through digital sampling and computer programming. Their first recordings generated an 8 track demo, which was freely distributed among friends and the local underground press. After 6 months of work and several sessions with guest musicians on acoustic and electric instruments, Raw self-released their first album 'Land' in December 1991 on Elfish Records. In 1992 they recruited the band's sound engineer, Coti K., as a third member, both on stage and studio sessions. 'City' was their second album fully inspired by the mechanisms of their home town. Presenting a different electronic face of Raw, manipulating rhythms with analogue synthesizers and harsh sampling to evoke the atmosphere of Athens. 'City' was released on CD only by Elfish Records in 1994. 'Fragments' is a collection of 4 songs from 'City' presented on vinyl for the first time plus bonus track recorded during the 'City' sessions previously released on a compilation in 1992. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. Each copy includes a double sided postcard with photos and notes.

It was way back in 2007 when Claremont 56 boss Paul Mudd'
Murphy and longtime friend Ben Smith made their debut on the then freshly-minted imprint. In the years since, they've delivered a string of luscious and atmospheric releases for the imprint, including three high quality albums.
It's perhaps ftting, then, that the duo returns to mark the start of
Claremont 56's second decade. Amazingly, Janet 50' not only
contains their frst new material since the release of 2016 album
Gorthleck, but is also the pair's frst single for six years.
Janet 50' is classic Smith and Mudd, a rich, heady and gently
unfurling instrumental rich in relaxed instrumentation, leisurely grooves and spacey, far-sighted synthesizer motifs. The track is underpinned by a shuffing groove high on hand percussion and toasty bass guitar, but it's Smith's cascading guitar lines and Murphy's fuid electric piano parts that catch the ear.
There's something of a treat on the fipside, where Versatile Records veteran Nicholas Chaix dons his now familiar I:Cube alias to provide a stunning remix. Over the years, the Chateau Flight member has earned a reputation for delivering high quality material that touches on a variety of styles, from blissful ambient and jacking house, to off-kilter jazz, Giallo-style horror soundtracks and pitched-down Yorkshire bleep
and bass.
His take on Janet 50' is, if anything, even dreamier than Smith and Murphy's original, smothering a low-slung, bass-heavy electronic groove in intergalactic chords, delay-laden congas, occasional acid lines and reverb-heavy passages of guitar and electric piano. It feels like a future classic in waiting.

This release blows the trio's instrumental palette wide open for a single continuous piece.
Begun as a one-off collaboration in 2009, the trio of Keiji Haino, Jim O'Rourke and Oren Ambarchi has now become a solid working group, refining its craft through a series of annual concerts at Tokyo's legendary SuperDeluxe.  Much of their recorded work has focused on their intense, ritualistic take on the rock power trio of electric guitar, bass and drums, with last year's 'now while it's still warm let us pour in all the mystery' (BT09) containing a series of instant compositions of stunning power and concision that demonstrated how familiar and attuned to one another the three have become.

Presenting the entire first set of the trio's March 2013 concert at SuperDeluxe (the second set will follow on Black Truffle later this year), 'only   wanting to melt   beautifully away is it a lack   of contentment  that stirs affection   for those   things  said to be as of yet unseen', their fifth release,  blows the instrumental palette wide open for a single continuous piece focused on acoustic strings, synth, flute and percussion. Featuring one of Haino's most delicate and moving recorded vocal performances, the opening section of the record takes the form of a spare duet between O'Rourke's 12-string acoustic guitar and Haino's kantele (a Finnish variant of the dulcimer), behind which Ambarchi provides a hovering backdrop of wine glass tones. While on previous releases the listener has often sensed that Haino was firmly in the driver's seat, here O'Rourke takes centre stage with an acoustic guitar performance that takes the lyricism of John Abercrombie or Ralph Towner and refracts it through the free improvisation tradition of his mentors Derek Bailey and Henry Kaiser. The atmosphere of meditative, abstracted song is reminiscent of some of Haino's greatest recordings, such as the legendary 'Live In The First Year Of The Heisei' volumes recorded with Kan Mikami.

In the Pacific there was another Atlantis, connecting Japan to what is now known as the United States. Swim with us through ancient caves and discover a secret that has been hidden from human eyes for thousands of years... Long thought lost Maiovvi productions from the early Berlin days remixed and remastered and made available for the first time.

Sydney via Melbourne-sider Cop Envy brings forth two heartbursting, patient and effective tools to mark the return of the Cry Baby imprint - long silent after their debut exploration with Dan White.

The anachoic, blistering tones of Balanced push the vinyl medium to it's absolute limits with Heavy, HEAVY bass and incredulously well produced embellishments making this a DJ tool for the year 3000.

Leisure laces the flip with something a little closer to the present day no thanks to barely melodic musical structures peeling away to reveal the rhythmic intricacies and soul rattling subsonics that roll effortlessly through to the bitter end. REWIND.

Gaijin Blues is Naphta and band mate PlaystationYoga Music's tribute to Japanese pop culture, manga and video games. This EP is the result of tours to different regions of Japan and spending time in record shops, as well as playing classic RPGs. Gaijin Blues is a blend between Japanese and Western music with live studio instruments. It's a feeling, an expression and a time and space vehicle.

Secret of Mana explores live percussion and bass with strings, live flute and dreamy vocals, whilst Cafe LeBlanc references a peaceful location in JRPG Persona 5 and features more soothing strings and is inspired by manga soundtracks.

Metal Gear Rex is string-lead and features complex melodies and vocal chops. Another tribute to Japanese gaming culture, this one has a driving, hypnotic bassline and an eye on the dance floor.Guardia Castle opens with a 4/4 disco beat before introducing unexpected layers of blissful, melodic female vocals, acoustic guitars and flutes.

Hailing from a futuristic landscape where gravel, glass and steel rub up against tropical traditions passed down to street-savvy Third Culture kids, Prince Of Queens has made it his mission to synthesize NYC's trans-caribbean culture clash and turn it into something entirely unique: deep techno improbably sprouted from tropic disco; demented cumbia and merengue as imagined by a clever, glitchy robot; a nod to Detroit from a Colombian immigrant's point of view. Merecutek collects five new cuts cooked up by POQ in his Casa Del Indio studio, a dank den of blinking analog filters, resonators and sequencers that also happens to be the creative space of one Felipe Quiroz, widely known as the multi-instrumentalist holding down the low-end for Combo Chimbita, and who is whispered to have a strong resemblance to the Prince Of Queens himself. Mastered at London's legendary Carvery for massive bottom and crisp highs, this new maxi single from Names You Can Trust is positioned to turn out adventurous dancefloors and soundtrack urban headphone walkabouts. Tropical Past and Future is here now, if can you glimpse it in the shadows of Queens.

Subjective is the new collaboration between DJ/producer/visual artist/actor Goldie and the exceptional engineer/producer James Davidson. Available on 12 track standard CD and double vinyl formats. Since the release of Goldie's platinum selling debut album Timeless, Goldie has continued to push boundaries and continue to revolutionise electronic music. "Act One - Music For Inanimate Objects" fuses cinematic, ambient and electronic elements whilst still being one of Goldie's most accessible pieces of work to date.
Video plays at MTV/Vevo, plus a video interview with the legendary tastemaker Gilles Peterson.

The New Album From Ambient Electronic Duo The Orb.

"i Wanted To Try Something With More Musicians And More Voices. More Contributors Essentially - Similar To The Conditions Our First Album Adventures Beyond The Ultraworld," Said Founder Alex Paterson.

The Release Coincides With The 30th Anniversary Of The Orb (first Orb Demos Were Recorded June 1988). New Album Features Holly Cook, Roger Eno, Youth, Jah Wobble, Guy Pratt (pink Floyd) And Steve Hillage.

'We are all connected to each other biologically, to the earth chemically and to the rest of the universe atomically.
We are part of the universe,
we are in the universe
and the universe is in us.'

Mannequin Records presents a trilogy of reissues from the avantgarde Italian-born producer Doris Norton, "Nortoncomputerforpeace" (1983, originally released by Durium Records), "Personal Computer" (1984), "Artificial Intellingence" (1985).

Apple's first music "endorsement" and Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro / computer music. Norton is the wife of Antonio Bartoccetti, progressive rock guitarist, and mother of the musician and techno producer Rexanthony. As a teenager, she was drawn to medieval, Renaissance and Baroque music, not to mention quantum physics, differential equations, organic chemistry, the experimentalism of John Cage and animated movie soundtracks. Her love for modules and circuits found expression through the waves of an old harmonium, the frequencies of a Minimoog, a Roland System 100M, a Roland System 700 and the ARP 2500/2600.

In 1980, Norton began her solo career by recording at Fontana Studio 7, the Milan studio of the composer and musician Tito Fontana, resulting in the electronic opera "Under Ground". Norton became more prolific, continuing her adventures in experimental electronics and computer music with Parapsycho (1981), Raptus (1981), Nortoncomputerforpeace (1983), PC (1984) - whose album cover prominently features Apple's colored logo - and Artificial Intelligence (1985).

Third studio album, 'Nortoncomputerforpeace' involved Doris Norton, Antonius Rex and Rudy Luksch (hardware engineer).

"Don't Shoot At Animals" was used as original soundtrack for the RAI tv program "Rumore Di Fondo" directed by Umberto Marino.

White Vinyl / REPRESSED !!

Ooh-sounds Inaugurates A Series Of Splits On The Topics Of Increasing Complexity, Dependencies And Miscommunication In A Media-saturated Digital Era. Georgia / Bellows Open The Series Shaping The Two Vinyl Surfaces Between Futuristic Eclecticism And Avant-garde Pan- Aesthetics.

"in Software Engineering D E C O U P L I N G Is Generally All About Discerning Whether Or Not Two Components Need To Closely Work Together Or Can Be Further Made Independent. Independence Is Great Because It Makes Those Things Easy To Change Or Use Somewhere Else. Usually, You Can't Remove Coupling Between Components Completely. D E C O U P L I N G In That Context Normally Means Loosening The Existing Coupling, Making Sure Each Component Knows As Little As Possible About The Other Components Around It'.

The First In A Series Of Split Vinyls Concerning Dependencies, Miscommunication And Increasing Complexity In Our Media- Saturated Digital Era. Georgia And Bellows Inaugurate The Decouple )( Series With Works Between Futuristic Eclecticism And Avant-garde Pan-aesthetics, Where Musical Themes Flow Tangentially. Similar, But Without Effectively Engaging One Another. A Metaphor For A World Of Surfaces.

Recorded In Georgia's Chinatown Nyc Studio, 'tiwala Sa Buani' Abruptly Throws Us Into Freaky Percussion Clusters Constructed From Heavily Processed Sounds Which Seem To Keep In Balance Just By The Magic Of Repetitions. Justin Tripp And Brian Close's Stylistic Fusion Acts Like An Antidote Against Gps Localization, With Sounds And Voices More Reminiscent Of Data Flowing Through A Proxy Server Than An Acoustic Performance - A Myriad Of Tiny Elements Resonates With The Multi-cultural A-geographic Perception Of A Contemporary Metropolis. 'a Habitual Sway' (an Anagram Of The First Title) Flows More Slowly, Mixing Hypnotic Rhythmic Percussions Loops, Melodic Sketches And Controlled Distortions Into Sophisticated Layers. Nai¨ve Digital Strings Pads Incursions Widen The Picture Further. Georgia Run An Nts Monthly Residency Of Oddball Electronics.

Digging Into Their Sound Archive, Bellows Build An Immersive Konrad-esque 19 Mins Of Humid And Winding Electronics With'untitled'. Drawing On Years Of Improvising Experience, Nicola Ratti And Giuseppe Ielasi Take A Puristic Avant-garde Approach, Using Tape Loops, Static, Modular Synths And Field Recordings. A Subtle Nostalgia Pervades The Whole Work - The Music Sneaks Through Lush, Decadent Dystopian Visions Like In A Travelogue. Mallets, Statics, Cut-up White Noise, Synthetic Kiks And Uncannily Pitched Voices Branch Out Like Roots, While Digital Birds Whistle All Around In An Aquatic Atmosphere, Perhaps Suggesting An Ironic Take On 'orientalism' - Down To The River's Delta.

SKRS are back on Boomarm!

Following the Black Mazda Soundclash tape on Liquorish Records, Lost & Found Vol. 2 offers up two bubbling and buoyant sides of upfull, dubwise riddims. Crafted in the lab by the SKRS crew (aka Seekers International) as an antidote to counteract all the doom and dreadfull hearts, SKRS remedy the dance!

Limited to 500 copies, comes in picture sleeve with art by MYSTERYFORMS.

Frankfurt duo Transonic Flow fly at the speed of sound on this six-shooter for Dream Ticket, giving the label 3 for 3 in 2018. The furious salvos of 'Pk Jam', 'Elec Jit', 'Arp Attack' and 'KC's Intermission' come fully loaded with influences from classic Detroit jit and electro, while 'Frtry 2jun' and 'Hp Dub', with all their broken melancholy, sound like man-machine laments for the aftermath. Make electro, not war!

Multi Culti magically conjures an EP from the legendary ZONGAMIN, whose amazing releases on XL Recordings and Ed Banger have kept fans waiting an unfathomable 13 years.

His return is unpredictable in every sense, stylistically running from Detroit string-house, futuristic electro, ceremonial flute-jazz, to indie folk-tronica - these are high-wire jams of the highest order showcasing a unique virtuosity as a multi-instrumentalist, a truly psychedelic experience that stands as a high water-mark for Multi Culti's cult ambitions.


12 inch vinyl with a picture sleeve & obi strip (belly band) shrink wrapped.

Early DJ Feedback:

Superpitcher - supernice :)

Soul Clap - THE TEXTURES!

Joakim - zongamin! what a nice surprise.

Red Axes - Great,Thanks!

Alli Tiefshcwarz - a m a z i n g ! ! ! zongamin is back

Jennifer Cardini - Zongamin!

Wolf & Lamb - Laser

Mano Le Tough - Zongamin is back! amazing!

Ivan Smagghe - FAVE!

2ManyDJs - yay

Tim Sweeney (Beats In Space) - Yes! So good to see Zongamin back.

Dylan Petit (Spotify France) - Such a brillant EP!

Shrink-wrapped Digipack CD Edition, 2016.

The birth of Ancestral Voices represents a new path for an established and highly respected producer. Liam Blackburn carved out a singular musical voice as Indigo, and also more recently as half of acclaimed duo Akkord. Inevitably a new approach to creating music has developed into a new identity:

seeping with textures, loaded with a taut energy that whispers tales of shamanism and transformative life experiences. Stripping back an already unique creative process proved a challenge that has paid off, and Blackburn's evolving sound has no immediate sonic comparison. With distinct resonances of his musical heritage flowing through a more mature filter, there is a mystical atmosphere that resounds through the LP as you hear Ancestral Voices emerge triumphantly into the world. The Ancestral Voices debut LP is an insight into a subconscious journey; fully formed as one accomplished 'Night Of Visions'.

Bomb the Bass' second album Unknown Territory was a venture into the progressive dance music. 'Winter in July' was the album's single hit, peaking at number 7 in the UK charts. The midtempo hip-hop was later being dubbed as trip-hop. Music writer Simon Reynolds searched for a way to 'combine the art of sampling with the energy of rock and roll.' This combination worked out pretty well and the ten songs shows how they developed to a band who integrated different aspects from electronic music in their hip-hop sounds.

Bomb The Bass were one of the first acts to bring sample-based music and scratching to a mainstream audience.

Unknown Territory is available as a limited edition of 1.000 individually numbered copies on coloured (green & black swirled) vinyl. The package includes a mini poster.

- 180 GRAM AUDIOPHILE VINYL
- INCLUDING MINI POSTER
- FEAT. THE HIT SINGLES 'WINTER IN JULY', 'DUNE BUGGY ATTACK' & 'LOVE SO TRUE'
- LIMITED EDITION OF 1.000 INDIVIDUALLY NUMBERED COPIES ON COLOURED (GREEN & BLACK SWIRLED) VINYL

Parisian veteran Dj Deep and Romain Poncet (well known for his Traumer allias) released their first Sergie Rezza album on Desire records in 2015, the album received heavy support from Dixon, Laurent Garnier, Hunee, Antal to name a few. They now decided to start Sergie Rezza's own imprint. Sergie Rezza's sound is heavilly influenced by Ambient, Electronica, Dub, Jazz, Industrial, Funk, and also Techno and House roots. This is the second release on their newly created imprint.

One year after Michigan-based artist Zach Saginaw released his third album as Shigeto, a genre-blending Detroit love letter called The New Monday, he returns with another eclectic display of affection for the musical community that makes Motor City music tick. The four new tracks on his Weighted EP, including a sumptuous remix from Detroit house luminary Andrés, continue to rene and augment the patchwork of jazz, hip-hop, and electronics that Shigeto has built his catalog with.

But far be it from Saginaw to repeat himself. Whether it's the heavy, disjointed beats of "Fight Club" or the vibey house roller "The Line Up (feat. Ian Fink)," Weighted drops as many low-key surprises as it does smokey grooves. A track as blown-out and deceptively simple as "Ooh Ooh" might at rst feel like an anomaly coming from Shigeto—once the cacophonous production settles in, however, it clearly bears the mark of a master producer exing new muscles. And that's true of Weighted as a whole. Saginaw is pushing his music into fresh spaces, forming imaginative shapes while keeping his focus on the city and culture that so deeply inspires him.

- Features remix from Detroit produces Andrés
- Transparent purple vinyl

California miscreants The Samps return with their long-awaited debut album, Breakfast, a magnum opus packed with sublime beats concocted from the treasure troves of forgotten music.

Zero 7 return with a sublime new 12' featuring two new tracks. On the A-side 'Mono (featuring Hidden)' see the debut collaboration between the band and new vocalist 'Hidden'.
On the B-side 'Aurora (featuring Jose Gonzalez)' sees the band team up with their long standing collaborator Jose Gonzalez.

The latest addition to the James Holden archive is an album of solo synth work originally written to accompany the critically-acclaimed documentary 'A Cambodian Spring': fourteen tracks of pulsing melancholy, foreboding drone and even the occasional burst of beatless trance in the form of the uplifting arpeggios of surefire album highlight 'Solidarity Theme'.

Picking up where his classic 2013 album 'The Inheritors' left off (and giving album closer 'Self-Playing Schmaltz' a new cinematic airing) Holden's debut soundtrack project combines the sound palette of his beloved Prophet 600 with a cranky old Hammond organ to showcase the full breadth of his musical tastes across the epic documentary format.

Includes download code and sleeve notes by 'Imaginary Cities' author Darran Anderson.

As the darkest month of the year draws upon the northern hemisphere, bbbbbb records introduces another Icelandic artist; the elusive electro producer Kuldaboli. With roots in hardcore-punk, metal-core and heavy-metal, Kuldaboli's electro bangers are as dark and grimy as they come. 'Ancient civilisations, 20th century history, the possibility of the existence of other dimensions along with the unbearable emptiness of human existence' are amongst the most prominent subjects of Kuldaboli's creations.
'Ég elska þig eilífa stríð' consists of five hypnotic tracks, some of which are overlaid with cryptic texts; ominous poetry recited in Icelandic. Icelandic is a dying language in many ways, only spoken by around 350.000 people and constantly giving in from outwards influences. Who knows, perhaps it will be wiped out all together in the near future. But then again, humanity might not persist for much longer either. Only time will tell.

RYD's self-titled album is ruthlessly honest and
impeccably inventive; music as therapy, where the
work itself becomes so entwined with one person's life
that context becomes meaningless and the content
becomes strikingly universal. 'It's about heartbreak,
and people being deceitful, I guess. It's about me,
most of the time. It's about relationships I've had with
people, and things that have happened that have
affected me emotionally. It isn't so much characters,
but what I've experienced.'
It's an album dominated by digital technology, by the
way the internet has impacted on the way we
communicate and the way we cover things up. 'I was
to explore relationships through the internet and
offline,' he explains. 'What I was really thinking about
when I was writing this record was how you could
have a split personality, and so have one personality
online, and one personality in person. And how much
that can differ.'
LP format includes digital download code.

Following TENDER's debut album 'Modern
Addiction', which saw the London duo rocket from
an unassuming bedroom project to an online
sensation, James Cullen and Dan Cobb are back
with their new album 'Fear Of Falling Asleep', via
Partisan Records.
Inspired by the moments that come just before
sleep, when silence descends and doubt and fear
and desire take over, the album is an unflinchingly
honest self-examination.
Dark, introspective synth pop.
TENDER have had their music featured on
soundtracks for 'To All The Boys I've Loved Before'
(Netflix), 'How To Get Away With Murder' (ABC),
'Search Party' (TBS), 'Scream' (MTV) and 'Ice'
(Audience) and in adverts for Chanel, Facebook
and Boîte Beet.
Full EU and US tour following their recent sold-out
headline London show at The Lexington in London.
Headline London show at The Jazz Café in April.
Supporting The 1975 and Pale Waves at Summer
Well festival in Romania in August.
White vinyl LP in a gatefold sleeve.

The Day are Laura Loeters from Utrecht/Netherlands and Hamburg based Gregor Sonnenberg. Since meeting at 'Hogeschool voor de kunsten' in Arnhem the two keep reconciling distances, differences and always new approaches and perspectives. What runs like a thread through all of this is the interest to take charge of things themselves, try out and grow on it together.

The Day is where whimsical Dream Pop meets a DIY ethos learned from hardcore. A sparse, springy and rapturous dynamic alternates with a wildly imaginative dream-pop harmony, rock and synths create just as inspiring contrasts as the refreshing, reduced postpunk references. This is continued in the songs by themes that connect and contrast the private and the political as often as possible. The Day's music expresses utopia as well as melancholy in its escapism and thus refuses to be interpreted in an overly fixed way. The band is an international long-distance constellation, an almost celebratory pan-European idea of unification (which sadly can't be emphasized too often in recent months).

The Day have released two EPs by themselves, were constantly on the road, supported Kate Tempest live and have formulated their own version of melancholic pop music. The two continue to work on creating their own version of introvert, melancholic pop music: intimate without being intruding, and speaking with inner calmness.

DEMENT3D is proud to welcome Valentino Mora on board, and share with you a part of his spiritual journey. Slow Hyper-controlled Motion has been inspired by Butoh moves, but also is a homage to early New York spiritual house. In creating this record he also took field recordings in the forests of Japan. The concept of Slow Hyper-controlled Motion is to recreate this 90's spiritual house vibe, but in a more experimental way.

Lost Futures is a new label that explores experimental and often radical approaches to dance music from the past. In a musical landscape that increasingly claims to seek and reward new forms and ideas, Lost Futures delves into the recent past to revisit forward-thinking, optimistic projects that, owing to the social, musical or outright political climate, perhaps struggled to find an audience. Allowing only time to re-contextualise these leftfield, sometimes misunderstood and ultimately human bodies of work, Lost Futures taps into the inherent idealism of rave.

LF001 trips back until the early nineties to revisit the alternative scene emerging from the Dutch city of Utrecht. Here, three young men - DJ Zero One (Sander Friedeman), TJ Tape TV (Arno Peeters) and DJ White Delight (Richard van der Giessen) - joined forces to form 'The Awax Foundation'. Inspired by the transcendent and revolutionary electronic music arriving on their shores imported from Chicago and Detroit, combining their knowledge, gear and ever-expanding vinyl collection allowed additional freedom in paying sincere tribute to these intoxicating sounds, while also developing their tastes in a more personal, eclectic direction.

The musical flavours of Awax initially leaned toward acid house and the roots of techno. However, with three different mindsets in the mix, their tastes were rarely fixed. One thing each shared in common was a devotion to collecting rare sounds, specifically more adventurous and international samples than those emanating from the increasingly-hard, masculine dance music emerging from the Netherlands during the period. Inspired by the cross-over global sound of bands like Suns of Arqa, or 'World Music', as it was perhaps patronisingly termed at the time, the trio became interested in the idea of making techno with 'ethnic instruments'.

Of course, this being 1992, none of The Awax Foundation had access to such instruments, instead, they had a vast, collective library of samples from all over the world. There were no collaborations and no clear plan. Instead, they set to work using a Yamaha TX16W sampler, the legendary Atari 1040ST computer, a cheap mixing desk and a couple of low-end synths and FX machines. When Richard mentioned the project to his friend, Akin Fernandez, the London DJ and owner of cult label Irdial Discs, Fernandez was intrigued enough to invite the trio to record a one-hour show for his 'Monster Music Radio' series on London's then-burgeoning Kiss FM.

Forced to come up with a name, 'CultureClash' seemed like the obvious choice, even if the members of Awax were only creatively sparring among themselves. Along with the term 'ethno-techno', slightly dubious to a hopefully more conscious Western audience in 2017, these were the only guiding principles to the quietly ambitious project that soon combined cutting-edge machine rhythms with samples sourced from everywhere from Bolivia to Togo, and inspired by everything from Ravi Shankar's epic soundtrack to the Oscar-winning movie Ghandi, to the technical limits of their own setup requiring a dazzling degree of cut-and-paste work. Some tracks even emerged out of academic studies within the ethnomusicology department at The University of Amsterdam.

The show aired on October 2nd, 1992, recorded in one blistering take and without any rehearsals, traversing a huge variety of tempos and styles. If the performance wasn't seamless, it was undeniably thrilling, fresh and ambitious. As such, several labels, including Fernandez's aforementioned Irdial Discs expressed an interesting in commercially releasing CultureClash, while another imprint proposed a series of twelve-inches and an album. But the sheer complexity of the project meant that it never saw the light of day, while the trio embarked on different journeys ahead, both creative and personal.

Twenty five years later, and the original CultureClash lineup and founding members of The Awax Foundation provide the sound of the first release from Lost Futures. An otherworldly, ambitious and optimistic compilation, accompanied by extensive sleeve notes from the trio, CultureClash is a timeless ode to experimentation in dance music's ever-overlapping culture.

Go Dark are out there on the fringes, two lone
figures working in the twilight to illuminate the
world. 21st Century cyberpunk that touches on the
sickness of modern life, Ashley 'Crash' Gallegos
and Adam 'Doseone' Drucker are bound by an
incommunicable sense of purpose, the two
merging completely on scorched debut album
'Neon Young'.
'Go Dark is music for women of my kind, the
striving maniac animal,' says Crash. 'bitches that
wear skirts and knives who can go into the woods
and track things.'
Dose adds: 'A lot of music is meant to take you to
a place you'd rather be, but this is meant to be a
score for the way it is.'
Go Dark emerge from digital ghettos, torn up
synths and blunt, punk-edged Brutalism that
conjures John Carpenter-style visions of futuristic
dystopia - except it's happening right here, right
now.
LP format includes digital download code.

New LP on Udacha label comes from Moscow based artist Vasiliy Stepanov. Abstract electronics, nu house, beyond pop, dub, soul, fourth world, tribal, comedy, parody and all other distinctive weirdy magic vibes for all another dimension lovers.

HAVING AMASSED OVER 100 MILIION STREAMS ON PREVIOUS RELEASES TOGETHER, RITON & KAH-LO HAVE BECOME ONE DANCE
MUSIC'S MOST IRRESISTIBLY IN-DEMAND DUOS.

21 vinyl records in high quality sleeves manufactured with italian cardboards from 100% recycled waste and silkscreen printed one by one using luminiscent ink.

18 vinyl records in 12" with full works by:
Carl Finlow - Microlith - Cignol - MetaComplex - Nullptr - Scape One - Nebenprodukt - Franck Kartell - Kan3da - Das Muster - Johan Inkinen - Luxus Varta - Obergman - Foreing Sequence - Mesak - Mental Note - Cygnus - Noise&Noise

2 vinyl records in 12" VV.AA.
Hieroglyphica - Heimelektronik - Darren J Horgan - Acidulant - Jensen Interceptor - Luke Eargoggle - Automatic Tasty - Mutex - Aquagonia - Noamm - Binary Digit - Martin Matiske

Extra record in 7" by ARPANET

High Quality T-Shirt silkscreen printed in luminescent ink that glows in the dark

Very Special Wooden Box, designed in exclusive for this project.

'String Figures Remixes' is a series of remixes released on December 14th 2018 following the previous-ly highly acclaimed LP String Figures by Zoe Mc Pherson. (Watch her Boiler Room live show)

Remixers for this EP include Ben Vince (Hessle Audio co release w/ Joy Orbison & Where To Now solo album where collaborators include Mica Levi & Rupert Clervaux), N1L (Opal Tapes & UIQ), Hester-1, Bartellow (ESP Institute, Public Possession) & Sukitoa o Namau (First Terrace Recordings).

The EP is pressed on transparent vinyl & comes along with transparent sleeve.

When asked why Zoe chose each artist for her remix album she writes:

Ben Vince is my mate since he opened for my release in London last April and he was really excited about making a remix. Which I think is even nicer is that he only remixed and did not play saxophone. He actually properly very much remixed all the elements, all recognisable, which is a delight to listen to when you know all the parts seperately. The only thing he did is making it a UK club banger track !!!! :)


N1L is a friend whom I admire totally for his capacities of producing incredibly wicked tracks in no time. He's got 10 000 collabs going on ( abit like Ben). I don't know how he does it, but damn his remix is also one of these that are a delight to listen to when the samples are re organised in a very cool way which is his own.


Hester -1 is also a friend, violinist and producer from Antwerp. She is a nerd, her style and projects are developing, we jammed together, and I wanted her to be on the original album, so now she is in the remixes and made a very dark piece and now I'm thinking she should meet N1L :)


Bartellow is also a friend, behind SVS, and he was the first one to make a remix in 1 hour on a flight I think actually even before the album came out!!!! He had already made a proper groovy banger, as he always does, with his style.


Sukitoa O Namau I've been chatting with since a while, she's an incredibly inspiring artist, releasing on First Terrace records, she used to be a dancer and is an explorer of sound and of many things. She basically fucked up my track, by changing the rythms into no rythms and purifying it very much which reveals other things. Only keeping rough elements of it and I think it's absolutely brilliant.

[A] A1 | Sabotage Story (Ben Vince's Perculator Mix) 2) The Gate