Beats Novedades

Finally Repressed

Creme Organization welcome a new producer to the ranks for their next EP: that man is Rhythmic Theory, a mysterious artist from Bristol who has years of experience of DJing, producing and running labels behind him. Most recently he has been in charge of his own eponymous label, and has close involvement with the BRSTL imprint as well as releasing on Idle Hands and Happy Skull. Across four track he shows a number of different sides, all of which are fascinating and inventive. Pessimists' opener Empty House (RT's Choppage Mix) is a sparse and broody track with, at first, only the occasional kick drum beneath sooty synth smears. Its from a post-human world and eventually turns into a lurching, off beat track that rises form the ashes of jungle and dubstep with real menace. Outlawed From Reality is another slow and purposeful track that is eerie and cinematic: the off beat drums and spooky atmospheres are full of intrigue and suck you right in, then Cyclic Motion continues to bring a paranoid and unsettled feel to the EP with its layering of elastic drums, naught sine waves and scattered drum hits. Last of all, Rachael's Theme mixes up passages of blissful cosmic ambient with loose, rumbling drums and a general vibe that feels something akin to passing from this life to the next.

Songwriter and multi-instrumentalist / producer Scott Hirsch has recorded a follow up to his critically acclaimed 2016 record, Blue Rider Songs. On Lost Time Behind The Moon, Hirsch chronicles confronting ghosts of the past, acknowledging that darkness rides alongside the light, and avoiding the pitfalls of regret. The record was recorded and produced by Hirsch with the help of Mike Coykendall (M Ward), and features musical guests William Tyler, Mikael Jorgensen (Wilco), Orpheo McCord (Edward Sharpe), Jimmy Calire (America) and Jesse Siebenberg (Lukas Nelson, Supertramp). Scott Hirsch's name is one you'll find lurking in the liner notes of many admired recordings from the late 1990s to the present. As a founding member of Hiss Golden Messenger, he was integral to the band's first five records, lending his sonic imprint on their productions, as well as shaping the sound of the live outfit, having toured heavily through the formative years of the band. Much of this work is reflected on the forthcoming Merge Records box set entitled Devotion: Songs About Rivers And Spirits And Children. Along the way he produced and played on records by Kim Krans' Family Band, as well as recording a Grammy-nominated record by the legendary folksinger Alice Gerrard. Having stepped off the demanding tour schedule of Hiss in 2016, new pathways opened up for Hirsch to fully engage in the craft of songwriting. On this second record, his production tones and songwriting talents are in full bloom. 'I think of Lost Time Behind the Moon as Scott's masterpiece, because everything I know about him is in these songs, the groove and the wonder.'—MC Taylor (Hiss Golden Messenger)

"Welcome to aquatic electro-tale. Electronic Leatherette provides their electro tales from deep sonic underwater universe.

Towards the Shadow, the third full-length from Wume, the Baltimore duo of April Camlin (drums, vocals) and Albert Schatz (keyboards, electronics),

offers eight exploratory, polyrhythmic jams taking the listener on an excursion deep into inner space. It announces a new phase for the band,

distilling such influences as Francis Bebey, Midori Takada, Erkin Koray, and Alice Coltrane.

However, Wumes sound remains rooted in crisp percussion worthy of comparison to Can, wedded to harmonic synths and kaleidoscopic textures.

Towards the Shadow also centralizes vocals more than any prior Wume outing. Camlins lyrics grapple head-on with deep philosophical issues probed during

an intense period of reading, self-teaching, and focus on her artistic practice in weaving. Hailing from the highly varied Baltimore music scene that includes

such artists as Dan Deacon, Horse Lords, and Chiffon, Towards the Shadow offers one of this communitys most exciting and essential documents yet.

The indigenous cause is an urgent one not only in terms of territory but also when it comes to the preservation of the vast Indian culture and Brazilian singer-songwriter Marlui Miranda has been dedicating herself for almost four decades to keep their music alive (she has a doctorate on Indian music, so you know).

In 1995, Marlui released the album 'Ihu: Todos os Sons', a collection of Indian chants she gathered in her field researches and released only in CD through two small labels (one in the US, the other in Brazil). This research started in 1986, funded by the John Simmon Guggenheim Memorial Foundation, and it investigated the sounds of different tribes in the Rondônia state, northern Brazil, namely the Suruí, the Makuarap, the Aruá, the Tupari and the Jaboti tribes - the latter being the one identified with the 'Tchori Tchori' chant, which praises a bird called biguá.

The haunting, beautiful melody of 'Tchori Tchori' couldn't get a better companion than the exquisite musical palette of Uakti, one of Brazil's greatest instrumental groups, known for creating their own instruments (you've heard them before in Selva Discos alongside Maria Rita). That's what the listener gets on the A side of this release - the deep sound frequencies of a 45RPM cut, fully remastered, of a song never put on a vinyl record before. On the B side, Brazilian DJ and producer Joutro Mundo (Jonas Rocha's alias), who's also involved in the indigenous cause for a long time, takes us on a journey reworking Marlui's groove with subtlety, extending the chant and adding just the right elements to make it work not only in the dancefloor but also on home/office environments for pure listening pleasure.

'Indian music for itself does not have to compete with any other music genre. It is what it is.' Marlui Miranda.

'Tchori Tchori' marks the first volume of the BRASINGLES series, a new series on Selva Discos dedicated to releasing loud 12' singles with the original song on the A side and a rework on the B side, to please both the DJ and the listener.

Following support from the likes of Ben UFO, Pearson Sound, Tessela, Laurel Halo, Mumdance and more, electronic producer Airhead has returned to the 1-800 DINOSAUR imprint for a brand new 12' double single of highly sought after music, purpose built for the club.

Named 'Clatter' and 'Droplit' respectively, both tracks hold the hallmarks of a classic Airhead sound, while simultaneously pushing the envelope of his previous work. 'Clatter', employs chiming synths and cascading rhythmic elements coupled to create its own steady tempo. Demandingly robust yet simultaneously instilling a sense of fun, 'Clatter' remains unpredictable throughout and consistently pushing the envelope of what defines club music. A disarming blend of whirring breaks, pitch shifted sirens, and guttural 8-bit bass notes, 'Droplit' is the perfect counterpart to 'Clatter'. Sparse yet still frantic and inherently danceable, 'Droplit' harks back to the rave era while keeping its vision firmly set in the future, transcending time and convention to embody a completely fresh approach to contemporary club sounds.

Already a lynchpin for progressive sonics both in and out of the club, Airhead's newest release on 1-800 DINOSAUR is a staggering blend of unconventional melodics, impactful percussion and devastating low end. Already proving to be a duo of hugely in demand tracks of the year thanks to support from some of the world's most respect selectors, with 'Clatter/Droplit', Airhead has pushed the sounds shaking the foundations of clubs forward dramatically, and as a result, created music that will inspire incendiary reactions worldwide for years to come.

Aperture records has always been about discovering new artists and bringing them to the forefront and italy is well-renowned for its electronic music, both former and current. so, from one italian duo (t.e.s.o.) to another... introducing Diaster.
Diaster aka Teo & G grew up in treviso, listening to the most experimental music they could find in their small rural city near venice.
With Matteo inspired by metal and musique concrete and Gianluca a researcher of old electronic/instrumental music, they decided to experiment with their various experiences in house, techno and drum n bass, inserting strata of industry and noise into their material. after 'Enchantments', a debut ep on DVNTT which deserves more recognition, and an accomplished follow up on Subsist records; 'Final Beginner', aperture records brings you their latest contribution; 'Clustered Non Symmetry'.
On first acquaintance, this 8 track album appears on the minimal spectrum; monolithic and indivisible. tension builds slowly and influences, mostly of a similar vintage, come through. arrhythmic incursions of stark and contorted electronics conjure up a hesitant, stealthily-undermined delineative framework.

Another week another lovely electronic/synth album, this time from Brooklyn based Faten Kanaan. To me these 13 shimmering tracks conjure up images of Medieval scenes in old video games, baths of mercury or other such things - think a new-age Mira Calix or more lo-fi Kara Lis-Coverdale.

The title is symbolic: an homage to the wild, untamed/unedited spirit. It's an album of uninhibited expression, a balance between playfulness and nuanced intentionality. Foxes is loosely inspired by early Surrealist automatism, made-up languages, Middle-Eastern Hakawati storytellers, and the minimalist poignancy of mimes. Here, Kanaan uses sound as an intuitive gesture to tell a wordless story.

More Than Human are based in Canada and have previously released records by Pye Corner Audio, Robert Aiki Aubrey Lowe and Ekoplekz.

The mysterious Barnes & Wobble comes back for the first Silver Fox Production 12' limited to 300 copies.
On A side the duo inaugurates the brand new shuttle between Bombay and Brussels with 'Love Fever (goa mix)'. Imagine a Bollywood movie filmed at the Bocaccio surrounded by dancers, flowers petals, elephants and tigers and you are really close to the point. Reports said that the track is already played in a lot of south India beach parties.

Barnes goes alone and takes no prisoners on B-side with the industrial kangaroo rampage made by 'Thick Thick Thick (Arm to Body Extension Mix)'. If Patrick Bateman ever did music instead of killing people he probably did this outrageous slashing track. NO MERCY NO PITY just Pain and Dance!

Jonas Palm released the excellent "Ze Wörmnest" album in 1986, following up with "Decompositions" (recorded following year) released by Börft Records in 2011. On "Remote Jazz" Palm collaborates with saxophone player P-O Lundquist in what seems to be a very rare and absolutely magnificent combination of electronics and saxophone. Perfectly atmospheric, triggering and genuine.

After more than 10 years RHYTHM TRAX is going to release rhyme06

RHYTHM TRAX is a damn funk techhouse label

David Holmes was drawn to DIE HEXEN by their 'magical sensibility that has both shades of dark and light, which is something that always appeals to me in music'. After featuring in his edition of the famed Late Night Tales compilation with a take on the original suicide song 'Gloomy Sunday', DIE HEXEN returns to expand upon their dark ambient journey towards transcendence with an eagerly awaited debut album.

DIE HEXEN's genre eschewing synth driven compositions draw inspiration from the disturbing beauty of Hieronymus Bosch's artwork and several brushes with death, evoking a spirit who traverses realms of the underworld to bring forth knowledge of an Ancient past and in doing so, to reveal the not so distant future.

The Garden of Unearthly Delights transports the listener through strange visions of darkness, beauty, creation, destruction, death & rebirth. An exorcism of body, gender, tribe towards a place of ultimate transcendence.

Somewhat of a polymath, DIE HEXEN has already shown their prowess with live performances part music/part performance art spectacle, as an avant-garde filmmaker and as an award-winning multi-instrumentalist, sound designer and film scorer.

DIE HEXEN's divergent interests from Japanese Butoh theatre to Wiccanism, Shamanism, celestial mysticism and time travel informs their method, as they explain themself; 'The compositions I write are not written, at least not by me. They appear to me as audio/visual hallucinations. I can hear, visualise, and feel the whole composition before me. My hands know instinctively what notes to play and like a stream of consciousness, voices emerge. Having suffered severe head trauma that resulted in a heightening of the senses, the theme of death is an increasingly present theme in my work. With this, my perception of death and what is beyond changes as I contort between this world and the next physically and mentally, musically and visually. Working with music or film, my vision is one. The calling to express these auditory hallucinations is inevitable'.

Camisole Records welcomes you on board for this Business Class Library compilation. During your flight you will be listening to music by Serge Bulot, Alan Shearer, Gérard Gésina and Pascal Wathelet. All these 80's electronic library tracks have been curated by your captain Silver Fox to assure you a pleasant journey. 'To Thwart Soul' by Gérard Gésina will guarantee you an easy take-off while 'Ondulations' by Serge Bulot is perfect to calm down during turbulences. For hours of magnificient dreams try 'Mouvements' by Pascal Wathelet. Landing with'Hollywood' or 'Marathon Life' by Alan Shearer will prepare you for your busy day to come. We thank you for flying on Camisole Records and hope to see you again on our lines. This trip is limited to 500 copies.

'Awake' is a soundtrack for roaming around vast city landscapes between late night and early morning. A lone wolf observes the scenery and watches over people, their heads low, on the path home to sleep. Inspired by 1980's movies, drone and video game soundtracks, Rob Orme aka submerse returns with an update to his signature sound.

the second 7' of käfTen is dark energic synth tones from Claus Fovea that will make you dance your socks off.

Mannequin Records is honored to present a 2xLP retrospective compilation of the french electro/wave pioneer Le Syndicat Électronique, the historical electro/wave project by Alaxis Andreas G., founder of the seminal Invasion Planète Recordings - the first French minimal electro/wave/experimental label founded in late 1998 by the insurance proceeds of a car crash. Vinyl pressed on black 160 gram housed in a full color printed sleeve limited to 500 copies with insert.

Heavily influenced by the work of masters like Kraftwerk/John Carpenter/Front 242, Alaxis Andreas G. is responsible for many others dark electronic / industrial / neofolk projects - to name a few: A//, Bruta Non Calculant, Swesor Brother, La Séduction Des Innocents, It & My Computer, Eva VIII.

After many years of supporting his artistic vision and direction, we decided was time to collaborate together in this killer 2xLP compilation, which includes 5 historic tracks never pressed on vinyl whose 3 are released for the first time ever.

Tracks selected, re-mastered and arranged by Alaxis Andreas G.

Patricia Kokett's sound is shrouded in a veil of mysticism. The brainchild of Lithuanian Gediminas Jakubka, Diabel's metallic heartbeat underlies a magical superstructure that evokes some kind of DMT infused trip. Or possibly even some kind of ancient ritual, where one is intoxicated by serpents blood. Guided by repetitive drum patterns, it creates a slow joint dance that opens the path towards transcendence.

Leifur James will release his debut album in October through Late Night Tales' artist label Night Time Stories.
A Louder Silence is the London-based producer and multi-instrumentalist's first proper release; his two earlier singles feature on the record, after gaining support from Gilles Peterson's Worldwide FM with a live airing and interview in 2017, plus continued backing from XLR8R, Stamp the Wax, and BBC Radio 6 Music DJ's.
The album is both spacious and thought-provoking, energetic yet restrained, brimming with nuanced electronic instrumentals, dubby synths, and jazz breaks — creating an array of rich textures, complemented occasionally by James' own soulful vocals.
While James' early unreleased work was singularly electronic, A Louder Silence focuses on analog synths and warm acoustic instruments, all played by his own hand. It's the product of a two-year spell in James' home studio, with additional live drums recorded with Jim Macrae at London's Old Paradise Audio.
James' rich musical influences are laced through the release. Encouraged by his mother, a classically trained pianist, he learned to play the cello and developed adeep understanding of rhythm and melody that informs his approach to writing electronic music. James playsthe piano he grew up listening to in 'Mumma Don't Tell' and samples an indefinable percussive element to drive forward 'Suns Of Gold.' 'Night and Day' sees cello plucks and long melodic strokes interlink with a grooving synth line. He also field records the atmospheric Moroccan sea in 'Red Sea.' Inspiration stems from the experimentation of modern day electronic producers, fused with the Jazz, Classical, Blues, and Soul music that soundtracked his youth.
Central to the album is the idea of space. James recalls the early advice of his uncle, a jazz guitarist, who features on 'Uncle Blue': 'I remember him saying to me: "What goes in comes out' James says. 'Every detail should be a worthy detail; sometimes nothing is better than something.' Moments of blissful, structured intensity are juxtaposed with stillness and near silence — dark and light; loud and quiet. This also forms the foundation for the album title: A Louder Silence reflects the dichotomy of finding pockets of stillness in a noisy world.
The result is 10 distinct tracks delivered as one coherent and well-structured long-player debut, set for release on LP, CD, and digital, on 5th October 2018.
Live dates follow a debut live show earlier this year at the Jazz Café with Yazz Ahmed, including an album launch at London's Ghost Notes in October.

Michele Mercure often dreams of music, and in her waking life, reclaims fragments of these fleeting, floating melodies in her compositions and sound art. Beside Herself, an anthology of Mercure's self-produced and distributed cassettes released between 1983 and 1990, collects these dreamlike passages and lo-fi nocturnes, preserving the qualities of discovery and intimacy surrounding their genesis.

Mercure's sound is a porous electronic art that overlaps ambient, abstract, and industrial sensibilities - its spaciousness reveals an artist attuned cinematically rather than for radio play or public performance. She approached the latter theatrically, and rarely, disdaining most live shows as too serious, and bringing her music to bare on her audiences in playful, immersive contexts. On recordings, Mercure's night lit synth music evokes non-confined environments, at once expressionistic and minimal and always aware of its surroundings.

Mercure was a busy collaborator during the years surveyed by Beside Herself, making music for theater, performance, film, and TV animation, yet it was through her self-released cassettes that she established her music among like-minded artists abroad. Circulated through tape-trading networks assisted by insightful reviews in Eurock, a seminal music magazine covering progressive rock and electronic music scenes, these album-length releases included Rogue and Mint (1983), A Cast of Shadows (1984), Dreams Without Dreamers (1985), and Dreamplay (1990). Though unvarnished in fidelity (and now scarcely seen), these tapes showcased Mercure's transportive aptitude within and beyond the limited sound recording medium.

Founded in 2014, Amnesia Scanner's approach is informed by a unique perspective on technology and the way it mediates contemporary experience. System vulnerabilities,
information overload and sensory excess inform their work, which has found a home in both clubs and galleries.
Building on their mixtape 'AS Live' Amnesia Scanner's critically acclaimed audio play 'Angels Rig Hook' (2015) laced a potpourri of dancefloor tactics with a machinic narrator.
Their dual EPs for Young Turks, 'AS' and 'AS Truth' (2016), distilled this immersive environment into an abrasive collection of cryptorave tools. The most striking detail of 'Another Life' is Amnesia Scanner's use of both human and inhuman voices.
The latter is provided by the latest addition to the production unit, a disembodied voice called Oracle, which represents the sentience that has emerged from Amnesia Scanner.
Oracle's vocal performance ranges from exuberant mania to anxious dread and beyond. Coupled with the pop song structures that Amnesia Scanner employs for the first time, the avant-EDM productions of 'Another Life' evocatively explore a schizophrenic present marked by narratives of a slow apocalypse or salvation via technology.
Indeed, the lullaby of 'AS Another Life' swings between trill hope and casual threat, lending a precarious gait to the song's staggering rhythm. The album's first single, 'AS Chaos', is its most powerfully direct track, with Pan Daijing's English and Mandarin vocals taking over for Oracle. At its peak intensity,

Japanese experimental duo group A formed in 2012, comprising Tommi Tokyo (synthesizers, drum machines and vocals) and Sayaka Botanic (violin, sampler and cassette tapes). Their early shows came as a shock to most spectators, non-stop waves of avant-garde noise, poetry, and performance art, such as semi-nude live painting. They have self-produced/released 3 albums and a remix single by Tom Furse from The Horrors - their third album was later released on Mecanica Records) - and an EP last year on Mannequin. They played their first full European tour including TodaysArt, Soy Festival and RIAM in the autumn of 2015. Since early 2016, the duo has been based in Berlin where they are further developing their musical and visual materials. They have performed at the CTM Festival, Krake Festival as well as many other European Festivals such as OFF Festival, Donaufestival, Roskilde and Le Guess Who
"Disobeyed Flute", a pipe tone from a twilight valley, a summon to an unknown fate. "Circulation" is a damaged dalek, to a hobbled Moondogian tempo. "Float", ghostly keys emanate from the bottom of a well, seeps into some plucked strings and asian drum. "The Devil to Pay" invokes some hellish tableau, an eery chant, to the sharpening of some instrument of gore, backed by an oscillating helicopter synth. Consumer rocks along with a consistent rhythm, like a slowed down YMO, with whimsical klaxons in tow.

Crotocosm is an occasional collaboration between Jordan GCZ (Lushlyfe, Off Minor) and Willie Burns (Black Deer, WT Records). Tracks were recorded together live in Amsterdam and Brooklyn between 1996 and 2017.. it's a TIP !

After some ground-breaking live shows and their 2016 debut release for ART - London Modular Alliance have gone from strength to strength to become one of the most in-demand and popular electronic acts. Their brash yet sophistictaed brain-melting tracks have been featured at clubs and festivals worldwide incl. London’s Planetarium, Reaktor - Amsterdam, Printworks - London, etc. LMA themselves have described ART20 as their favourite collection yet - and indeed the production skills on display are stunningly impressive. Space and dynamics are tough to master yet when it is handled correctly it leaves room for a heavyweight sonic assault as displayed here. From the creepy, sinister yet tongue-in-cheek vibes of Lavendah - to the lush Detroit/IDM style breakdowns of Peach Hat. Harnessed Black Holes is the perfect cruiser track - stately and majestic whilst the EP ends with the throbbing, strobe light-only style of title track Precious Materials. Another landmark release from these fine purveyors of Electronica. ART is proud to present ART20 early this summer 2019.

A superb oriental electro sound... The Ingaza first press on vinyl. Gatefold Sleeve.

The brand new EP 'Have You Been There, Have You Seen It' on Ninja Tune finds Helena in breath taking form, lining up four lithe, muscular and overtly shadowy analogue excursions improvised and recorded in her studio in Hamburg. For fans of Actress, Karen Gwyer, Hieroglyphic Being, Omar S. 12' black vinyl in a yellow speckled paper innersleeve housed in an artworked 3mm spined outer sleeve. Artwork by Carlo Miozzi.
Praise for Helena Hauff's 'Discreet Desires' (2015): Brooding, machine made menace... a soundtrack for an unseen dystopia' - The Wire (lead review) Dark, sharp-edged hardware jams... (sounds) that will set your synapses alight with delight.' - Mixmag (8/10 - Album Of The Month) Throbbing, three-dimensional electro that hums and buzzes with dark and decadent energy... an intense and impressive debut album' - Crack Magazine

Les Editions Japonais, is a new label to showcase Japanese artists new and old, the first release is by Tokyo based band Kufuki.

Kufuki, was formed in 2010 by Ryuichiro Konno (electronics), Motomasa Saito (electronics), Tosimasa Matsumoto (vocals), and Yudai Nobunaga Kogawa (vocals,VJ, electronics), hailing from various musical genres, ranging from techno, rock, blues and hip-hop. Tired of formulaic club music, they set out to create their own electronic ethnic music, firstly taking influences from places they had travelled, but more recently concentrating on electrifying minyo, or traditional Japanese folk music.

MInyo has an ageless tradition in Japanese culture, mainly work songs - for example, sung by field workers and fishermen - and regional tributes. Passed down over the centuries by performance at seasonal festivals, they are often accompanied by dance. These traditions prevail, and many songs are familiar to a large proportion of Japan's population, young and old.

Kufuki have already released two albums, the self-released "Fukamidori" (2010), and "Kufuki', on the Wonderyou label (2012). Favourable reviews appeared in Japanese, American and European web magazines: Bad Alchemy Magazin (Germany), Loop (Chile), Sound & Recording Magazine (Japan), Hemisferia (Colombia) and more. They toured South Korea in 2013 and Europe in 2014, taking in Germany, Portugal and the UK. This year they are planning another European tour.

The band's singular sound is a rollicking rendition of minyo, using the driving work-song rhythms as a background to their call and response vocals, and phalanx of decaying synthesizers, all in a pentatonic key.

Torobayashi is a 20th century folk song, originally released in the early 60s by Masao Suzuki, as part of the original wave of popularised minyo. Akusejima is much older, named after the tiny remote volcanic island in Kagoshima. And, tucked away on the B side is a cheeky dancehall-tinged re-work of Torobayashi by Japan Blues.

The 4 track 12' comes in black disco bag, with label artwork by Motomasa Saito, and with a washi (Japanese paper) New Minyo sticker.

Hosono's solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.
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The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer.

Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom.

Compilation of the works by MJ Lallo, weird harmonizing mantras layered with drummachine rhythms.. Very psychedelic compositions where she uses her voice to create all kinds of sound(scapes)
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Take Me With You is a revelatory voyage through the captivating universe of voice artist and poet MJ Lallo. The works on this 2LP compilation were all recorded in her home studio between 1982 and 1997, primarily using drum computer, synth and her own voice processed through a Yamaha SPX 90 digital effects unit. They range from wordless harmonizer mantras and primitive drum computer meditations, to psychedelic latin dance-floor anthems and synth-drenched end-of-the-nighters. Lallo has created her own inimitable galaxy of sound where the human voice, liberated from the constraints of language and abstracted using digital technology, is able to explore the outer realms of human expression, like Joan La Barbara with an Eventide and a new-age sensibility. Although Lallo's flight path is distinctly her own, her journey converges with other travellers as diverse as Jon Hassell, Laraaji, Stereolab, William Aura, Laurie Anderson, Meredith Monk, Gertrude Stein and even Terry Gilliam (whose film Brazil was a big influence on Lallo). Like something beamed in from another planet, Lallo's work is both fascinatingly strange and strangely familiar, and will leave a lasting impression for lightyears to come. Double gatefold LP, remastered DDM pressing.






[E B1 | Midnight in the Sky

guerrer@ represents the revolution that must occur (and keep occurring) within oneself, so that it may also occur outside oneself. of looking backwards and forwards, simultaneously and always. of accounting for present and potential material makeup. of accounting for the contemporary abhorrent and luminous actions of the flesh. a pledge towards infinitely malleating--and, thus, the necessary deliberate reconfiguration of--identity. the necessary deliberateness of movement and becoming. the possibility of convalescence. insomanywords: faith, hope, affliction and anger, daggered at oppression, wherever it may be found.

Solipsism is an archival release of music from Mike Simonetti's
tenure as owner of Italians Do It Better Records, spanning from
2006-2013. During that time Mike wrote a lot of music. Some of it
was used for films, some for TV commercials, some for fashion
shows and he even released a record or two.
Influenced by the intersection of 80's arena rock bands like AC/DC and Judas Priest, glam rock/dance bands like Rockets and Supermax, and especially the underground Italian producer Piero Umiliani - the album is chock-full of atmospheric rock-inspired arpeggiated riffs. The mixture of metal and chugging dance music makes for a unique listening experience. Every song has a riff, every song is heavy and dense. Only one song goes above 118 BPM. These are heavy chuggers that make for a tense emotional experience that exceeds your standard, easy-to-write-off 'soundtrack' fare, mainly because it was never written with that in mind. It was meant to be a fist-pumping arena rock inspired thumper! You can hear that in the one two punch of 'A Prayer For War' into 'Illusions", which is an outtake from his "The Magician"
sessions. Other songs like 'Solipsism' showcase the airy melodies
of that were to come with his other project Pale Blue, but that is
not typical on this album. If you listen closely, you can hear how
Simonetti's music and dark vibes inspired his then label partner
Johnny Jewel to take his own bands Chromatics and Glass Candy in a different, more cinematic direction.
This was written and recorded years before the Drive soundtrack and all the hoopla around the sudden soundtrack resurgence. In
2011 Mike was asked to submit some songs for a soon to be
released Hollywood remake. He submitted most of the songs from this album, and they were slated for release on the soundtrack,
but the project fell apart, and the film went in a different direction
and changed producers. Soon after, because of all the drama and foolishness, he left Italians Do It Better to start over with 2MR and Pale Blue. This is the nail in the coffin. Godspeed.

AEVA conjures up images of our world laid to waste. Having picked up wide and varied support on his debut 12' Dramatic Sunset, AEVA returns with his Superstars EP, a trajectory marking the implosion of a star turning supernova as euphoria dovetails into paranoia. Summer draws to an end and the melancholy imprint of unfulfilled potential begins to rust as the smell of wet concrete fills the air. This is Massive Life.

Dirk P. Haubrich's peculiar sound first caught Quanta Records' attention in 2016 during a night dedicated to Jirí Kylián, the Czech former dancer and contemporary dance choreographer, at the Opera Garnier in Paris. A few weeks later, the first steps were taken to set up collaboration between the artist and the label. The process was organic and lead to the release of Dirk's first official record: Robinson Out Of Context. This seminal work is made of two pieces: 'Robinson Out Of Context' and '7 to 8'. These compositions are meant to accompany choreographies respectively by Bruno Listopad and Shen Wei.

With a career spanning over twenty years, Dirk P. Haubrich has built an impressive discography and a characteristic auditory identity. His quest for deeper and more diverse arrangements has been an inner drive and a defining process for him. Among the myriad of tracks that Quanta Records had the pleasure of discovering, two were selected after an intensive formatting to adapt them to the 45rpm standard.

This record is challenging and requires a lot of attention from the listener since the composition, rhythms, atmospheres and textures have been minutely fine-tuned. As the record unveils itself to its audience, the listeners will discover a smooth and perfectly mastered composition that develops into a journey through its two separate pieces. The German artist's diverse soundscape intertwines long drone and ambient sequences with percussions and broken beats that offer an ideal opportunity for reflection and contemplation. The details incorporated in this rich and intriguing work are an invitation to get lost in the sound and to escape.

The creative process behind this record, from the composition in Berlin to the mastering session with Rashad Becker, allows for Dirk's art to be transposed from ballet stages to different spaces for a wider audience to discover and appreciate sounds that bridge gaps between experimental, ambient and electro-acoustic.

Bearing traces from his earlier synth ambient project Sansernes Rus as well as his previous engagement in the danish noise and techno scene, this debut EP operates on the fringes of percussive techno, melodic ambient, and bass music with nods to several other styles including IDM and millenium trance. In other words Safe Following Distance' reflects a very adventurous approach to music making, offering four individually strong tracks out of which each one draws upon inspiration from different genres while contributing to an overall aesthetic perspective.

ArchiPOP#2 is the 200th release on Beatservice Records, and the LP-version is a special limited edition celebration vinyl version. It contains a collection of the best electro-pop and house tracks from the last few years of digital singles from Beatservice Records.

ArchiPOP is a series of curated selections from the Beatservice Records archives. Songs that have been on single/EP releases or standout tracks on albums are put together in a new and well-selected environment by label boss Vidar Hanssen. The artwork following these compilations are mirrored and manipulated architectural images from Tromsø, Norway, the hometown of Beatservice Records. The pictures are taken by German born, now Tromsø resident architect and photographer Kristina Schröder. Many of her pictures show familiar architecture in new and unusual perspectives.

Archive curating + architectural manipulations = ArchiPOP!!

UMX is back with another cracking release , this time with artists from the USA and Japan . this EP is filled with 4

strong electro tracks with a lot Low Bass , beware not to blow your speakers. Get it while you can cause this a

150 copy limited edition

NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS...