Beats News

Authors of the 4th release of the Mosaique label are the project Savage Ground, known for its works on Lux Rec, Pinkman Broken Dreams and Enfant Terrible. The project hides two people - Daniele Cosmo (owner of Lux Rec) and CCO (who's already participated in the first V/A ""Universe""). ""In not"" is a mixture of synth wave, analog distortion, experimental dance electronic music and vocals. The EP contains 4 tracks that divided the two sides of the plate into two different moods. This is a vinyl release without digital sales and repress.
Limited edition, vinyl only, A&B Sides - 33RPM.

Howie B & Nick Young Reaktivieren Nach Über 15 Jahren Ihr Legendäres Pussyfoot-label, Das Seit 1993 Wegweisend Im Bereich Breaks/downbeat/triphop War, Und Heute Um Weitere Facetten Des Elektronischen Eklektizismus - Von Afrobeat Über Electro-psychedelia Bis Grime - Erweitert Wird. Der Neue Sampler "space Is The Plaice" Enthält 27 Komplett Exklusive Tracks (plus Cd-bonustrack) Von Ausnahme-produzenten Wie Howie B, Jacknife Lee, Dem Superproduzenten-trio Tojin Kit (jim Abbiss, Chris James, Kidkanevil (of Massive Attack)), Ancient Lights Feat. Flowdan (roll Deep), Deadly Avenger, Pye Corner Audio, Luke Haines, Dj Rui Sa Silva, Sowie Den Japanern Fantastic Plastic Machine, Chari Chari, Tilt Und Major Force Productions.

Limitierte Farbauflage Auf Pinkem, Gelbem Und Blauem Vinyl.

Through his output both as a sound artist and through his eclectic
Dekorder record label, Black To Comm (Marc Richter) has established
himself as a singular voice of new music. His Thrill Jockey debut, 'Seven
Horses For Seven Kings', is Richter's most direct and visceral to date.
A relentless sonic explorer, he approaches the studio as his instrument,
using sampling, analogue production and digital manipulation to sculpt
audio fragments into surprising new shapes. Samples from Richter's
contemporaries like German composer Nils Frahm are bent and
compounded with elements of early recorded music and medieval song,
creating pieces that transcend time and genre. Richter blurs the lines
between organic instrumentation and digital production to the extent
that the two become inseparable.
'Seven Horses For Seven Kings' was completed during a particularly
prolific period for Richter. Working on a broad range of commissions
since his last album - from writing for film and theatre works to
composing for art installations, apps and sleep music - generated a flurry
of new ideas and influences. Extensive touring would equally come to
inform a key shift in Richter's music, simulating the raw, unpredictable
energy of live performances on record. While rhythm has been largely
absent from previous Black To Comm releases, here the music seems
totally bound to it. The album's breathtaking pace drives Richter's music
to new levels of intensity.
'Liberated from any one set of formal constraints, Richter uses his many
resources to conjure delicate effects of mood and graded shading.' -
Pitchfork
'Marc Richter's music follows no line but its own. That's why it's a
disservice to simply call it drone, as Black To Comm curves in multiple
planes.' - NPR
'Black To Comm is... like an abandoned museum of late-Twentieth
Century instruments whose exhibits are still running at half power.' -
New Yorker

Through his output both as a sound artist and through his eclectic
Dekorder record label, Black To Comm (Marc Richter) has established
himself as a singular voice of new music. His Thrill Jockey debut, 'Seven
Horses For Seven Kings', is Richter's most direct and visceral to date.
A relentless sonic explorer, he approaches the studio as his instrument,
using sampling, analogue production and digital manipulation to sculpt
audio fragments into surprising new shapes. Samples from Richter's
contemporaries like German composer Nils Frahm are bent and
compounded with elements of early recorded music and medieval song,
creating pieces that transcend time and genre. Richter blurs the lines
between organic instrumentation and digital production to the extent
that the two become inseparable.
'Seven Horses For Seven Kings' was completed during a particularly
prolific period for Richter. Working on a broad range of commissions
since his last album - from writing for film and theatre works to
composing for art installations, apps and sleep music - generated a flurry
of new ideas and influences. Extensive touring would equally come to
inform a key shift in Richter's music, simulating the raw, unpredictable
energy of live performances on record. While rhythm has been largely
absent from previous Black To Comm releases, here the music seems
totally bound to it. The album's breathtaking pace drives Richter's music
to new levels of intensity.
'Liberated from any one set of formal constraints, Richter uses his many
resources to conjure delicate effects of mood and graded shading.' -
Pitchfork
'Marc Richter's music follows no line but its own. That's why it's a
disservice to simply call it drone, as Black To Comm curves in multiple
planes.' - NPR
'Black To Comm is... like an abandoned museum of late-Twentieth
Century instruments whose exhibits are still running at half power.' -
New Yorker

'learning To Cope With Cowardice', The Groundbreaking Debut
Solo Album By Visionary Post Punk Iconoclast Mark Stewart, Is To Be Given A Definitive Reissue Alongside 'the Lost Tapes', A Newly Discovered Cache Of Unreleased Material.
'learning To Cope With Cowardice' Is Released On Double Cd,
Double Vinyl With Digital Download Code And Separately As
Digital Download Albums. 'learning To Cope With Cowardice' Is A Vital Chapter In The Legacy Of Mark Stewart & The Maffia, A Project That Would Prove To Be A Revolutionary Benchmark For Many, From The Innovators Of The 'bristol Sound' (the Wild Bunch, Smith & Mighty, Tricky, Massive Attack) Through To The Likes Of Trent Reznor And Nine Inch Nails. Collected Together This Set Realizes An Expansive Restoration Of One Of Stewart's Most Audacious Statements. As It Was In The Early 1980s So It Is Now, 'learning To Cope With Cowardice' Is A Masterwork Of Mutant Design And A Rude Awakening Of Extraordinary Bite.
Mark Stewart Himself Perceives 'the Lost Tapes' As A Document
That Now Possesses A Storied Significance: it Was A Real
Adventure Discovering This Forbidden History, A Twisted Tale Of
Muswell Hillbillies, French Pirates And A Dutch Schizophrenic
Doctor Doing Psychic Archaeology.' Whilst Adrian Sherwood
Describes These Works As Characteristic Of A Distinct Primitivism: ('the Lost Tapes' Represent) The Early Childhood Of The Songs Before Mark And Me Conducted Frenzied, Scorched Earth, Slash And-burn, Twenty Hour Mental, Manic Editing Sessions At Crass' Studios That Led To Birthing The Finished Album.'

Turntables on the Hudson celebrates 20 years of Worldwide parties city to city, river to river with a special compilation pulling from Nickodemus' favorite songs over the past 2 decades. The compilation touches on some of the party anthems that kept the dancefoor moving from the start of the night till the last songs when the lights came on. The songs range from classic Fat Freddy's Drop, Men from the Nile, Trueby Trio, Jazzanova, Quantic to future classics from Dimitri from Paris, Moulinexx, Captain Planet, Thornato & more. The 3XLP is pressed with 2-3 songs per side with 13 in total & the digital contains the full 20 song compilation playlist. We hope you enjoy some good vibes & memories from this small selection of some of our favorites.






F C2 | Midnight Magic - Drop Me A Line (Mano Le Tough Remix)




F1 | Zero dB - Come Party

Repress of their first 12'' single "The Stains". This extended edition includes a bonus track - 'Phantasmagoria'- and a friendly dancefloor cut of the title-track by Alessandro Adriani.

Conceived by vocalist Gerrie Brand, the band was starting out as performance art, and quickly became more as Gerrie surrounded himself with some of the best musicians from the club and art scene in South Florida, including our dear Mystic Bill, who was playing the guitar with the band in the early stages.

Originally self-released in 1991, the single "The Stains" became an underground club hit and charted on many college radio stations, in both the extended and the original version. The single was distributed as a hard to get promo only release. The repress contains also the title-track of the single 'Phantasmagoria" - another cult tune for early 90's goth djs - originally released in 1992. Mega tip!

"imagori" (2015) Ist Das Erste Gemeinsame Album Der Beiden Musikalischen Grenzgänger Hans-joachim Roedelius (u.a. Cluster, Harmonia) Und Christoph H. Müller (u.a. Gotan Project). Elektronische Beats, Schwebende Pianomelodien, Perkussive Elemente: Ein Atmosphärisch Dichtes Album, Durchgehend Warm Undharmonisch - Obwohl Es Von Offensichtlichen Gegensätzen Lebt. Das Ergebnis Ist Ein Album, Das In Sich Ruht, Auf Positive Art Geschlossen Wirkt - Und Jede Sekunde Spannend Ist. Diese 12" Enthält Die Fantastischen Remixe Von Peter Kruder (kruder & Dorfmeister), Ken Hayakawa Und Takamowsky.

we are pleased to announce the debut release of a young producer from St. Petersburg, HOAVI. His adventurous electronic sound is one we haven t heard in a while and excited us on first listen. While on one hand, his music has a traditional sound (early 90s UK), HOAVI does create a world of his own due to the versatility in his productions. It is this versatility that creates an exciting hybrid sound, therefore pushing the envelope and making it sound very current, future even. vinyl tastes better...

Emotional Response starts 2015 with a 4 part split (Schleissen) series aimed at highlighting artists pushing the sonic boundaries of electronic experimentalism. Starting with ErB001, featuring Abul Mogard and Harmonious Thelonious.
Emotional Response is pleased to announce a special 4 part, split series of LPs that explores the further reaches of ambient, drone and rhythmic percussion, known here as Schleissen. To start the series is 2 artists long admired by the label. The music of Abul Mogard has stayed pretty much under the radar. Hailing from Belgrade, Serbia, retired factory worker turned drone specialist, Abul has released 2 solo and 1 joint cassette-only albums on Steve Moore and Anthony Paterra's (Zombi) VCO label. A big favourite of the label, Dizziness That Shakes Rivers And Mountains is near 19 minutes of pure, modular beauty. Play loud for full o.o.b.e effect. On the flp, a more well known name in Stefan Schwander's percussion based project, Harmonious Thelonious. First catching the label's attention with a series of drum heavy EPs before moving more towards the dance flor on his most recent releases. On a visit to play the infamous Salon Des Amatuers for the Musiccargo album launch in late 2013, Stefan kindly passed on a CDR of "more experimental pieces" and on hearing these, the idea of Schleissen was first born. 2 pieces of Steve Reich inspired minimalist explorations weld to become an incessant psychoacoustic cycle, melodically deconstructing and reconstructing to create a continuous harmonic movement. A series then created for the more discerning ear, so empty your mind and (un)listen.

2nd EP of the tenebrous parisian boy named Beige, this 5th Global Warming EP goes deeper into our vision of post-apocalyptic club music. It opens with an arid psychedelic jam, lynchesque journey into a never-ending space hole; that comes with a loud dub and primitive remix from Berlin based mate Don't DJ. Then night falls down and strobes starts to flash on a slow hammer tune, blended with ethnic drums and Belgian beat; even weighted down and orientalised by the greats Acid Arab fellas. Not recommended for epileptics.

Spaced-out Library Funk From The Vaults Of Warner/chappell Production Music. Eleven76 Create A Time-travelling Soundtrack To Orbital Adventures With Heavy Drumbreaks And Analog Synthesizers, Perfect For Intergalatic Breakdance Battles And Cosmic Dancefloors Alike.

Exclusive Promotional Vinyl 45 To Support The Library Album Space Voyage. Limited Quantities Available As Most Of The Pressing Is Used As A Giveaway For Clients In Film/tv/advertising.

Third Official Apparition For Matthias On His Superluminal Imprint.
Following The First Catalog And Lp "rituals" And The Secondary "xel Naga" 12" Release Here It Comes The Last Irrational And Not Figurative Commitment. It Was Not The Coldest, Worst Nor Longest Of Winters Nevertheless, Eternal Are The Mysterious Allusions To Life And Death And The General Inevitability Of Change Which Were Encapsulated Within The Passage Of The Seasons By The Ancient Mind Of Man.

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Sequenced And Recorded In Berlin Using Synths Like: Acidlab Miami, Roland Juno 106, Moog Minitaur, Moog Mother, Doepfer A-100 Modular System, Roland 505 And Many More...

After making his appearance on fifth Vakum back in 2016, Sagats returns to our label with a full EP release. Cleverly combining vocals, acid and dirty electro rhythms, Italian prodige manages to tell the story through three feet jumpers that share similar resources but each with a different twist. With A1 opener serving as a head-on tour de force of rhythmic games, Blue Screen Of Death is a spewing acid peak timer that wiggles until the last kick. Flip side B1 is the distance runner of the release with suitable name Venice Marathon. Again Sagats pulls out the best out of 303 on saw mode and although the stamina is constant, the track still delivers some quirky and unexpected pad & fx turns completing it by every stage. B2 takes a dark turn with Therapy, the track dominated by relentless 303 sequence with everchanging parameters. Atmosphere is raw, ominous and warmly analogue.

The release is being stamped in a very limited number of 200.

There's damage to all sleeves due to packaging by the plant. We have discussed with the label at length now and the decision has been made to sell them in the condition they arrived (the record is already 7 weeks later than we expected). We are warning in advance, and asking you to confirm your order qty before we ship. We cannot give refunds or offer a discount this time. The records 100% fine, we have been through all the boxes.

For its holy thirty-third release, Drawing Room divinely offers 'Rhizomatic Gaze', the newest solo album from Marcia Bassett and Zaimph. 'Rhizomatic Gaze' is the ultra-heavy beautiful apex breath of all the

wonderful things Bassett is known for: noisy electronic enraptures, forward thinking drone, experimental inventions, percussive plays, and entranced vocal takes.

It's absolutely stunning and essential listening in a level all to itself. Admirers of the dark left field need this release. Mastered by Josh Bonati for Bonati Mastering and pressed on 180-gram vinyl, the deluxe 2xLP comes in a heavy

stark sleeve accompanied by an 11x22' double-sided foldout poster.

Limited Edition: 500 x 2 LP Gatefold Pressing. Bentley Rhythm Ace formed in Birmingham in 1996 when ex Pop Will Eat Itself bassist Richard March and DJ Michael Stokes discovered a shared love of obscure, oddball and eccentric tunes. Utilising lo-fi cut and paste sampling techniques combined with analogue synths and some wild turntable action their debut EP was picked up by Fatboy Slim's Brighton based Skint Records and released to widespread acclaim. The BRA live show added Fuzz Townshend on drums and James Atkin (ex EMF vocalist) on keyboards and the latter years of the 90s saw BRA firmly established as festival favourites with appearances at Glastonbury, Reading, V, T in the Park, Montreux Jazz and Fuji Rock amongst many others. Their irreverent approach mixed with big beats, thundering bass, wild synths and esoteric samples proved to be a hit with fans and critics alike. 1998 saw Bentley Rhythm Ace crowned 'Best Dance Act' in that year's NME awards. Their eponymous debut album was given a worldwide release after the Bentleys signed to Parlophone records and the band toured extensively in the UK, Europe, Japan, Australia and USA. As well as releasing a highly regarded DJ mix album on Ministry of Sound, and releasing a second album for Parlophone (featuring vocals from Black Grape/Ruthless Rap Assassins frontman Kermit), BRA also produced well received remixes for the Beastie Boys and Supergrass as well as soundtracking several TV shows and adverts. This "21st Birthday - Bonus Tracks Edition" of the album has been compiled by Richard March of the band and includes the original 11 track album along with 2 bonus tracks remastered and repressed to vinyl for the first time in almost two decades! Presented in a deluxe gatefold sleeve, complete with original artwork and comprehensive sleeve notes for all thirteen tracks written for this release by Richard March. Bentley Rhythm Ace (21st Birthday - Bonus Tracks Edition)

Silk Road Assassins, a trio consisting of Tom E Vercetti, Chemist and Lovedr0id, return to Planet Mu with their debut full-length 'State Of Ruin' two years after their first EP 'Reflection Spaces'.

The trio recorded over two years, working together to start with, then across different studios and via the internet when their lives became more separated. They also finessed the album at Abbey Road studios, making use of some short time to add in extra layers.

The three producers day jobs are in production music, music designed and created specifically for film and games, and this album uses these skills to explore the musical forms that they love. The album explores how trap and grime's minimalist form can be built and curved into musical architecture: elegant, opaque and layered, turning the sound into lush, melodic world-building.

The work gone into the album is revealed on repeated listens, every sound on this record feels built to sit within it's delicate ecosystem. The fundamentals of the music are given their own sense of purpose: hand claps spray, bells tumble, guitars splinter and lush melodies waft over and fill the track's spaces like light, glinting across snapping, crisp rhythms and deep bass tones.

Sunda Arc are brothers Nick Smart and Jordan Smart. Best known as key members of Norwich based alternate-jazz trio Mammal Hands, Sunda Arc channels the duos love of electronic and dance music, without losing any of their deep musicality. Drawing on techno, electronica, neo-classical and post-rock influences, Sunda Arc compose and perform using both electronic and acoustic instruments, including analogue synthesisers, home-made software patches, piano, saxophones and bass clarinet - all finessed and channelled through their own unique creative strategies. Integrating electronic elements and experimentation with the expressiveness and energy of acoustic instruments and live performance, Sunda Arcs music is expansive, compelling and fun in equal parts.

New collaborative album from two of the world's most revered sound artists. 'At its best, William Basinski's music inspires the sort of rapturous testimony usually reserved for peak experiences, cult leaders and the dead.' Pitchfork // 'Awe-inspiring: strange, elemental, and profound.' AllMusic // For over half a decade, William Basinski and Lawrence English have been in regular contact with one another. During that time their paths have crossed repeatedly in various cities; Zagreb, Los Angeles, Hobart and more, in a variety situations. It was from these chance encounters - and the strange familiar of lives lived in transit - that their first collaboration, Selva Oscura, was seeded. The phrase Selva Oscura draws its root from Dante's Inferno. Literally translated as 'twilight forest,' it metaphorically speaks to both those who find themselves on the unfamiliar path and more explicitly the nature of losing one's way in place and time. Each of the extended pieces on this record maps an acoustic topography that draws on the concept of drifting into the strange familiar. The works each dwell in an ever shifting, yet fundamentally constant state of unfolding. As one sound fades away, another is revealed in its place, creating a sense of an eternal reveal. Selva Oscura was recorded in Brisbane and Los Angeles simultaneously. The compositions were each created through a process of iteration and rearrangement that inverted the micro and macro characteristics of the raw sonic materials. Dynamics and density were chiselled with restraint and at other times intensely reductionist approaches to create a limitlessly deep, but open sound field - as rich as the suggested place from which its title is drawn.

The Second release of Polarity records is characterized by old-school house influences with techno shades. The artist, Andy Rantzen, is an Australia-based lo-fi electronic producer. Trained as an academic psychologist, Rantzen has been writing and releasing music for over thirty years.

Family is a sometimes great, if big, notion. Hard to sustain, most often dysfunctional. At LDDLM, we do not put pressure on anyone, and certainly not ourselves. But bounds are sometimes tightened, some artists we would never consider ours, but most certainly as closed friends.

This is the 3rd EP (a house record) by Antoine Harispuru aka GOLDEN BUG but the first, excitement renewed, in company of IN FIELDS.

They push the boundaries of GB's trademark ghost funk on this EP: BONES features once again Diego Hdez for a smacked out yet epic pop number (we would not call it shoegaze). CRACKS dissolves its ethnic funk into pure psychedelia, SHAKES dubbing itself out into oblivion. All in all, 3 strong bongs. Finally FANTASTIC TWINS (Hippie Dance/Optimo/Microdosing) builds her own wall of sound, expanding BONES into a mind bending prison.

Turn on, tune in, never drop out.

One Instrument presents ""One Instrument Sessions", a new format on which each artist shows a more personal narrative of the sound experiments they compose.

Neel opens the series with a solo record including "Aria", a 20 minutes long piece made with the E340 Cloud Generator of Synthesis Technology, and "The Morning After", composed with the Roland SH-01A.

The E340 Cloud Generator is an oscillator which Neel says has always been a fan of. It has eight sines and sawtooth VCOs with unique modulation capabilities. "Aria" came to life while he was preparing for a live techno set: when he stopped the recording the oscillator kept running producing the sound and tones audible in the composition.

The Roland SH-101 is Neel's favourite synth. "The Morning After" is one of the 9 experiments he created while using the boutique version of the machine.

FireScope welcomes back Sweden's Bauri (Martin Abrahamsson) for his follow-up EP titled Vinkelvolten II.

With the seasons turning, these 5 tracks from Bauri match the oncoming cooler climates perfectly. Delicate crystalline notes and ethereal melodies waft past on an autumn or winter's day, with the stepping crunch and idiosyncratic shuffle of gravel underfoot the only indication of the passing of time in the tracks. Imbued throughout are a sense of calmness, beauty and ease.

A slow autumn hike, the crisp and cold 'Hertsi' is well-paced and subtle in its storytelling, revealing a forest clearing here, or a hint of the surrounds beyond there, never with any rush or unnecessary drama.

From its glitchy predecessor, 'Vinkelvolten II' continues the plot where the first left off, offering richer tones and depth in maturity and emotional expression, pairing a soul-drenched electroish bassline with crunchy, grainy beats and a sprinkling of light toms.

The 90s throwback 'Cocoon' is a capsule of a different era gone past, a slower paced groove and sustained synths painting a mysticized, fantasy world inhabited by imaginary creatures.

The gently cascading vibrato and ringing arpeggiated notes of 'Wobbly Rhodes' brings the EP to its mountainous high — a breathtaking panorama for the eyes and ears.

The lucid 'Tuesdaydreaming' floats around like a lo-fi afternoon daydream, layer upon layer of a mental hallucination looping in and out, drifting between different worlds.

Finished in glorious green and black splatter vinyl with exclusive full colour artwork by Catherine Prendergast AKA Cellar Door.

Alter follow on from the bilingual dark ambient theatricals of Liberez with this four track EP from veteran Hamburg producer Christoph De Babalon.

As an affiliate of Digital Hardcore, Fat Cat and the recently founded V I S, CDB has tirelessly explored the intersections of breakcore, illbient and drum and bass. His work is at once uncompromising yet stylish - broken, punishing rhythms collide with dreary, doom-laden melodies and those eerie in-between spaces of vintage Unit Moebius or Deutsch Nepal. With Hectic Shakes he delivers a meditation on the 'inner abyss', the sort of abyss that lulls the listener into his sound world with next to no resistance.

'Shakes and Shivers' fixates itself on deceptively playful grooves with eerie, nightbus-to-nowhere atmospherics whilst opening cut 'Harakiri' manages to distort familiar jungle tropes into something even die hard devotees of the sound will find fresh. The EP closes with what we can only describe as a homage to 90s ambient techno in a ruff, post-hardcore fashion. Skittering drums weave in and out of longing, futurist synth lines and enough breakdowns to satisfy the dance floor.

Electro-dub pioneers Dreadzone were formed from the ashes of Big Audio Dynamite and over their two decade plus career have been championed by the late John Peel, signed to the legendary Creation Records and Virgin before finally securing their independence by founding their own Dubwiser record label. 'Dread Times' is their 8th studio album from the band and the 3rd release on their own label. Their old skool dread sound comes bubbling to the surface on the album and it digs deeper into their dub and reggae influences whilst still managing to keep the beats fresh and the textures electronic. Conscious lyrics, social ills, matters of the heart and mind merge with 21st century dubwise flavour.

Alongside core members Greg Dread, who produced this 12 track album, Leo Williams, Chris Compton, Earl 16 and Spee, Dread Times introduces younger blood into the mix. Newest member Bazil bringing an edge to the sonic process and Greg's son Marlon expanding the musical range further. Don Letts also returns with lyrical contributions, as does Lena Cullen on vocals for one track, with 90s ragga duo Louchie Lou and Michie One guesting on another. Recorded again at Mick Jones' Bunker Studio, arranged at Dread Central and mixed by fellow founder Tim Bran, this is classic West London Zone with an updated edge. Dread music for an unpredictable world, these are Dread Times.

Electro-dub pioneers Dreadzone re-issue their 2001 album 'Sound'. The band formed in 1993 when ex-Big Audio Dynamite drummer Greg 'Dread' Roberts teamed up with Tim Bran, with the duo soon joined by bassist Leo Williams. Until the release of their fourth album 'Sound' in 2001 the band continually remixed itself, chopping and changing members (and record labels). Greg and Tim approached the new millennium with a fresh idea in the form of the Dubwiser Club night at Notting Hill Arts Club - a move that would sow the seeds for the birth of 'Sound' in 2001 on the Ruff Life label. They channelled their energy into DJ based club nights that fused dub and reggae with contemporary electronic beats to create the perfect soundtrack for people from different planets. This proved a fertile musical playground with immediate feedback on the Dreadzone sound. It was in this climate (and in a new studio) that the band would create 'Sound'. The album was written and evolved over a two year period at the turn of the century and featured contributions from Don Letts, Earl 16, Brinsley Forde and MC Det. It's also most notable for the first appearance of a certain MC Spee on the opening tune Return of Dread.

Made up of German-born composers Patrick Tiley and Dominik Felsmann, Felsmann + Tiley share a passion for film scores, contemporary piano compositions and innovative electronic music. However, the two critique that, 'film scores often do not stand up on their own when removed from their visual experience, classical music sticks to its centuries old instrumentation and electronic music is largely dominated by kick drums and percussions'. With their Felsmann + Tiley project, the duo are attempting to break this mould, using only synthesizers to experiment with the creation of an infinite range of sounds, new ways of modulating and expressing music and live performance opportunities that have never before been realised.

Taking influence from innovative genre-blending contemporary electronic musicians such as Nils Frahm, Deadmau5, Stephan Bodzin, Olafur Arnalds and Stranger Things soundtrack composers Kyle Dixon & Michael Stein, Felsmann + Tiley are also inspired by the classical symphonic music genre and its sound design, dubbing their unique and immersive sound similar to composers Ben Salisbury & Geoff Barrow (Ex Machina, Annihilation) and Alexandre Desplat (The Shape of Water) for their ability to contrast between digital and analogue structures and texture.

Gamble's new three-part album for Hyperdub, which will be revealed in a series of EPs.
The triptych sonic documentary loosely explores three stages of the 'Semioblitz' - the aggressive onslaught of visual and sonic stimuli of contemporary cities and virtual spaces. The first part of the series - 'In a Paraventral Scale' - zooms in on the seductive/destructive nature of present-day reality through a symbolic prism inhabited by snakes, vehicles and mirages. From the sound morphologies of 'BMW Shuanghuan X5' where recordings of high performance cars melt and spectrally morph into synthesized orchestral timbres, through the arpeggiated neon hyper patterns of the beautiful 'Folding' and the electro slam of 'Moscow', this chapter veers into a crystalline, neon sound mirror of 'In The Wreck Room', where 21st century jungle meets footwork and electro, takes a ride on board a hypothetical super highway in the rain at night, leaving us in the haunted tension of Lee's most emotive tracks to date - 'Many Gods, Many Angels' - to await the second part of the triptych. 'In A Paraventral Scale' is a clash of Gamble's brand of hyper-concrète, where unmanned vehicles hover around us, steel ball bearings roll and scatter, jet engines end up as smashed objects, voices instruct, orchestral instruments morph into the sounds of doppler-shifting vehicles - all this distilled into signature jungle mirages, with brash, restless DJ Stingray-style 160bpm electro and haunting ambience. Gamble exposes us to a new type of digital theater, a unique and futuristic filmic world blurring the distinction between non-musical sound, music and dance floor, a push and pull between reality and fictional worlds. All sonics co-exist in an unreal place whose spatial and temporal location is left for us to assemble.

For Shelley's on Zenn-La, Oliver Coates designs a complex of bending truths and reverse walkways to vernal states. Open ears can peer down hidden aux channel corridors, while melodic patterns present two-way mirrors to rooms of other retinal colors. An endless euphoria is just beneath the dance floorboards of Shelley's, and an inquisitiveness unencumbered by the institution of knowledge surrounding its frame and inhabitants.

Planet Battagon are innovators in Droid Jazz. Electronics, jazz and outer-national sounds ain't no new thing. But following in the extra terrestrial sounds and cosmic mythology of Sun Ra, Planet Battagon are not reaching for the cosmos but simply made of it. Droid consciousness is the starting point but what's consciousness got to do with it. The droid's need culture, music and art and of the highest and most experimental of that lies Droid Jazz.

Originating on Lord Battagon's home planet the group are documenting the folklore and jazz stylings of the Trans-neptunia neighbourhood out on the edgelands of the solar system. This debut release follows on from a Lord Battagon outing on the Atlantic Jaxx label. 'Who's out on Quaoar' is taken from the Ltd Ed 12' 'Battagon Symphony', part one of 'The Rough Guide to Trans-Neptunia'. The release also features 'Salacians of Neptunia', a homage to the early droid cultural pioneers and the chant like 'Moon of Dysnomia' that is played ceremonially to temper the erratic saline tides of the aforementioned moon especially during its retrograde period. Droids and saline do not mix well and OntheCorner are releasing these 'Rough Guides to Trans-Neptunia' after intercepting distressed transmissions prior to a
devastating saline tide.

The Noise Droids of Planet Battagon are:
Jack Baker - Acoustic Drums
Martin Slattery - Bass Clarinet,Alto Sax & FX
Oli Savill - Percussion
Mickey Ball - Trumpet
Nathan Curran (Tugg) - Synth Bass, Syn Drums, FX & Conductor

Pioneer of electro-acoustic and experimental music, the French Groupe de Recherches Musicales (Musical Research Group) created by Pierre Schaeffer right after World War II still influences current electronic music. This selection of tracks from 1949 to 2004 invites its listener to discover the various directions taken by the most influential musicians of the Groupe.

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.

Envee is well known producer not only in Poland.

He is releasing music since 2001.

You may know him from remixes for Compost, Jazz & Milk, Sonar Kollektiv, Wah Wah 45, GAMM and many more.

Now he is back with first album since 2008!

Come on journey from ambient, broken beat, dub to swing, spoken word or some hip-hop.

16 unreleased tracks on two vinyl records with poster inside. Only 300 copies worldwide!

Arts & Crafts will release the second entry in Kid Koala's Music To Draw To ambient vocal collaboration series on January 25, 2019 launching with single and pre-order on November 30.

Io features Trixie Whitley singing on and co-writing 6 of the double album's 18 tracks. Io is a sprawling map of electronic and instrumental ambient music all composed and performed by the globally renowned scratch DJ a.k.a. Eric San. The series is set against a wintry backdrop of space travel love stories, with Trixie Whitley's otherworldly blues setting the tone with a moody, heartfelt ambience.

1. Circle of Clouds
2. All For You (ft. Trixie Whitley)
3. Torus
4. Transmission 4
5. Lost at Sea (ft. Trixie Whitley)
6. Shielded
7. Liminality
8. Transmission 5
9. Hera's Song (ft. Trixie Whitley)
10. Transmission 6
11. Allotropic
12. Diamond Heart (ft. Trixie Whitley)
13. Resonance
14. Escape of Io (ft. Trixie Whitley)
15. Emuii
16. Aphelion
17. Look-Back Time (ft. Trixie Whitley)
18. The Moons of Gallileo

European music culture has never been closed, on the contrary - it has always integrated influences from all other parts of the world. Two Tribes makes an effort to give insight in how musicians living in Europe today incorporate and transfer musical traditions particularly from the African continent into their own oeuvre.

Featured on Two Tribes are a broad range of constellations, ranging from musicians with roots in African countries who reside in Europe to collaborations between European and African artists. Musically our compilation tries to capture at least a part of the enormous diversity that contemporary music from Europe of this kind has to offer. The spectrum ranges from classical - songs' using traditional instruments from both continents to electronic productions that combine musical heritage with current club culture. Our selection can only be a musical snapshot since there is so much movement in this genre at the moment.

As you can hopefully see and hear, the leitmotif while compiling Two Tribes was to keep an eye on the ease of handling different cultural influences amongst the featured artists. It was important to us that the included music doesn´t just copy African music styles one to one but has an own handwriting and builds a bridge between the musical legacy of both continents. With all the track included, we have found a number of great examples and decided to showcase twelve of them on this first volume. The music included refers to the musical traditions of Senegal, Kenya, Nigeria, Ivory Coast, Ethiopia, Morocco, Zimbabwe and South Africa amongst others. The involved musicians are spread all over Europe, from Finland to Great Britain, Italy, England, France and Portugal to Germany.

Be it organic or electronic music, we think that all of the tracks really deserve your ear! Tobi Kirsch & Ubbo Gronewold, June 2018