Beats News

Beacon's third full-length record enters sight as a work of meticulous revision and refraction. Returning home to New York in 2016, four years and several tours since the duo's rst release with Ghostly International, Thomas Mullarney III and Jacob Gossett knew the next direction would be different. Together they embarked on open-ended sessions, adopting a more linear style of songwriting compared to their previous loop and texture-driven method. They fundamentally constructed demos from piano chords and guitar phrases with vocal melodies, editing iterations almost ad innitum, looking through each from a multitude of angles. Compositions expanded, while others pared back to where they began. Like the bending of light, this abstractive and patient process outlines a space and scale in which seemingly separate colors — minimalist ballads, elaborate pop spirituals, and four-on-the-oor dance sequences — can coexist at different speeds, fanning out with spectral cohesion. A prismatic collection Beacon call Gravity Pairs.

'All matter is created by dividing gravity into pairs,' said 20th-century scientific-mystic Walter Russell, whose idiosyncratic 'new world-thought' writings and musically-informed schematic drawings were as fringe in their time as they are fascinating. Mullarney details the concept further: "'Gravity Pairs' is how Walter Russell describes the rhythmic order of the universe. I kept reading 'pairs' as both a noun and verb; simultaneously the elemental units of Russell's balanced universe and the process that brings us together." This curiosity of natural phenomena shines through the album's kaleidoscopic artwork — dichroic glass prisms photographed by the band themselves — and its lyrics, most directly through the narrative device of light.

With each iterative breakthrough, Beacon expanded the spectrum of these recordings as well as their possibilities in the live setting. The material can be played straight or in previous variations, enhanced by the recent addition of a drummer to their live band. Another epiphany came in the spring of 2017 when Beacon joined Tycho at Coachella and for dates in Europe, with Mullarney experimenting as the band's rst ever vocalist. 'Just doing things at that scale, and at that point in the record, was really validating,' says Mullarney. 'We came back with condence to nally nish the record.'

Two models exemplifying this mode are 'Be My Organ' and 'On Ice.' The latter is a smoke-lled still-life. Notes arpeggiate along a cool, motorik beat as Mullarney repeats 'you're not moving,' his vocals vaporized and echoed. The former elevates on a percussive build, reaching its peak in the nal strobe-lit minute. Then there's a late album ourish, 'The Road,' which, through pinwheeling repetitions beamed into four-on-the-oor framework — from Tycho drummer Rory O'Connor — folds vibrating wavelengths into a symphony of fragmentary energies.

Russell, the mystic, believed in balance, a rhythmic exchange 'between all pairs of opposite expressions.' On Gravity Pairs, Beacon channel the philosophy with pure pop mystique, slicing through dense and foggy dance and electronic music apparatuses to create something familiar but unique, melodic but cathartic. Rippling through these songs are iridescent synthesizer lines, stoic piano phrasing, dazzling percussion, posh harpsichord, understated xylophone, and a crisp voice in complete control. Taken as a whole, in their various combinations and compressions, these complementary and secondary tones unlock the lushest eld of color, a universe of light.

Flowing energies and social pressure, high expectations and pathetic fails, driving rhythms and cheerless inertia, so-called integration but effective exclusion; these are some of the opposite poles reeled out of the debut full-length delivery of Glass Knot (Lasse Bjørck Volkmann aka Metalized Man, and Nicolai Vesterkær Krog aka Misantrop) on Foul-Up. 'Present Tense', is a multi-level sonic object whose large-scale reach only equals the profoundness of the tale of love and hate it discreetly tells - in between the lines. Laying down a hot-blooded mixture of warped industrial rhythms, chopped-up breaks, off-kilter drones and hi-NRG anti- techno with a strong punk attitude, the seven tracks blaze their trail away from expectations and norms.

A1. Present Tense 1
A2. Present Tense 2
A3. Present Tense 3
A4. Present Tense 4
B1. Present Tense 5
B2. Present Tense 6
B3. Present Tense 7

* Breaking into a new century, following last months 100th release on the label, Ishan Sound collaborates on 2 killer tracks with Bristol-based Hodge and Alex Hughes aka Muttley.

* 'C5' refers to cold explosives and makes for a perfect title for this stark, cold rhythm. A circling melodic synth line sets a moody context before the floor drops out and an industrial strength sub drives things forward at 130bpm. Deep, hard, dark, original. Exceptional quality from Ishan Sound and Hodge.

* Flip for a 140bpm excursion from Ishan Sound & Muttley, melding elements of trap, grime and dubstep meticulously to form an engaging sonic that is both fuel for the dancefloor as well as providing introspective qualities for bass weight meditation. 'Still Smoking' sums it up appropriately.

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.

The act of escaping that which is predestined. / A hustle. Reto A Ichi is a sonic tabula rasa for Guillermo Herren AKA Prefuse 73. There are identifiable elements of the artist you already know - an uncanny sense for rhythm, an ability to shape samples and frequencies like clay, an affinity for the subtle changes of repetition - yet this is first and foremost music born from the need for silence. There is no easy entrance point or index for the listener.

The first album, The Lapse of Exchange, is the sound of life as heard from a small Chinatown window in downtown Manhattan, the thunder of populism on the horizon. The album opens with music that reflects the inherent tension between the life of the artist - the self-doubt, the late nights, the aspirations - and the world outside - the hustle and bustle of a city that never sleeps, the wars abroad, the politicians at home. It's a tension felt in the repeating, circling keys of "Let The Pianos Freeze", the pulsating rhythms of "No Juntos", or the call and response of pitched vocal samples in "A Sword In The Rain". Ultimately it all becomes too much for our unwitting hero: the car horns outside the window, the 24 hour news cycle, the early stages of an election that tears down any remaining semblance of normality. Reto A'ichi can no longer grasp his humanity or connect to that of people around him.

With the walls closing in, he packs his small life and escapes.

By the time Twin Peaks' second season had aired and Fire Walk With Me had just begun principle production, Thought Gang had been born. The esoteric jazz side-project of David Lynch and Angelo Badalamenti evolved from the seeds of Twin Peaks' trademark slow cool jazz and blossomed into more experimental pastures: horizonless vistas of acid-soaked free-jazz, laced with spoken word narratives and sprawling noisescapes. Fire Walk With Me's soundtrack would ultimately showcase two preliminary tracks ('A Real Indication' and 'The Black Dog Runs at Night') from a full-length album that wouldn't see release for two-and-ahalf decades. Beginning in May 1992 and continuing throughout 1993, the bulk of the remaining material for the album was recorded in pieces, and dove-tailed into a string of contracted sessions for other Lynch-Badalamenti projects.

In the years following, fragments and working versions of Thought Gang material would make appearances in everything from a Lynch-helmed Adidas commercial to scenes in Hotel Room, Mulholland Dr., Inland Empire, deleted scenes from Fire Walk With Me, and most expansively utilized in Showtime's third season of Twin Peaks.

By the time Twin Peaks' second season had aired and Fire Walk With Me had just begun principle production, Thought Gang had been born. The esoteric jazz side-project of David Lynch and Angelo Badalamenti evolved from the seeds of Twin Peaks' trademark slow cool jazz and blossomed into more experimental pastures: horizonless vistas of acid-soaked free-jazz, laced with spoken word narratives and sprawling noisescapes. Fire Walk With Me's soundtrack would ultimately showcase two preliminary tracks ('A Real Indication' and 'The Black Dog Runs at Night') from a full-length album that wouldn't see release for two-and-ahalf decades. Beginning in May 1992 and continuing throughout 1993, the bulk of the remaining material for the album was recorded in pieces, and dove-tailed into a string of contracted sessions for other Lynch-Badalamenti projects.

In the years following, fragments and working versions of Thought Gang material would make appearances in everything from a Lynch-helmed Adidas commercial to scenes in Hotel Room, Mulholland Dr., Inland Empire, deleted scenes from Fire Walk With Me, and most expansively utilized in Showtime's third season of Twin Peaks.

- Legendäre experimentelle Jazz-Aufnahmen von David Lynch und Angelo Badalamenti von Anfang der 90er Jahre. - die Musik wurde versatzweise in David Lynchs Film- und Fernseharbeiten verwendet, ist aber nie als richtige Veröffentlichung erschienen. Thought Gang wurde nach der Ausstrahlung der zweiten Staffel von ,Twin Peaks" geboren, als die Hauptproduktion des Kinofilms ,Fire Walk With Me" gerade erst begonnen hatte. Das esoterische Jazz-Side-Projekt von David Lynch und Angelo Badalamenti entwickelte sich ursprünglich aus dem Slow Cool Jazz, der die ,Twin Peaks" TV Serie mitgeprägt hatte. Thought Gang erblühte zu einem experimentelleren Sound: horizontlose Aussichten auf LSD-getränkten Freejazz, geschnürt mit gesprochenen Wortnarrativen und ausgedehnten Geräuschkulissen. Der Soundtrack zu ,Fire Walk With Me" präsentierte zwei vorläufige Tracks ("A Real Indication" und "The Black Dog Runs at Night") von einem Album, das von Mai 1992 bis 1993 stückweise aufgenommen und zweieinhalb Jahrzehnte lang nicht veröffentlicht wurde. In den folgenden Jahren tauchten Fragmente und Arbeitsversionen von Thought Gang-Material immer wieder auf: in einem von Lynch geführten Adidas-Werbespot; in Szenen in ,Hotel Room", ,Mulholland Drive" und ,Inland Empire"; in gelöschten Szenen von ,Fire Walk With Me" und am meisten in Showtimes dritter Staffel von ,Twin Peaks". "Frank 2000" und "Summer Night Noise" sowie ein alternativer Instrumental-Mix von "Logic and Common Sense" unterlegen Szenen der dritten Staffel und helfen, den ausgesprochen experimentellen, rauschhaften Soundtrack der Serie zu definieren. David Lynch über Thought Gang: "It's sort of like jet-fueled jazz in a weird way, but it's all based on stories. It's Modern Music."

Nach drei EPs auf dem belgischen Kultlabel R&S Anfang der 2010er Jahre und diversen Releases mit seinem Partner Blawan als Karenn, veröffentlicht der britische Produzent Pariah nun ein atemberaubendes Debütalbum auf Houndstooth, auf dem er eigensinnige Strukturen, üppige Harmonien und fesselnde Melodien in eine aufregende Mixtur aus abstrakten Landschaften und ausgesprochen strukturierten Songs und Soundcollagen verwandelt, so dass das Mixmag UK nicht umhin kommt, die Wurzeln seiner Inspiration mit "Eno, Vangelis und Aphex Twin" zu benennen.

"Here from Where We Are couldn't be further removed from his work with Blawan there are shades of the masters - Eno, Vangelis and Aphex Twin - in this collection of gorgeous, gossamer-light vignettes." - Mixmag UK

In the first part of a two-volume release, Eric Copeland (Black Dice) delivers Trogg Modal Vol. 1. It has been one year since releasing Goofballs and Eric has doubled down on his unique approach to crafting dance music, pushing a sort of 'Freakbeat 4/4' agenda even further than before. Where Goofballs was the first album recorded in its entirety in Eric's current home of Palma de Mallorca, Spain, and the result of countless hours spent working in the studio, Trogg Modal Vol. 1 is a bit less serious and more carefree, with tracks that are propelled forward by a singular, frenzied energy.

Chunky percussive layers, hard steady kicks, and tweaked loopy vocals create a playful vibe that is best described as a tropical-industrial hybrid. The final product comes together via seven succinct, self-described 'rippers,' music created both deliberately and accidentally, and always with a sense of humor that bubbles over and out through the speakers. With Trogg Modal Vol. 2 out in early 2019, this two-part release pulls into focus a vivid and unfamiliar new direction for Eric Copeland.

Emotional Rescue returns to the music of "dark ambient" pioneers O Yuki Conjugate (OYC) with the reissue of their debut album, 'Scene in Mirage'. Released in 1984, it's post-industrial; cold wave overtures mixed with an ambient oeuvre created a compelling album that has gained cult status.

Recorded in a four-track basement studio in Leeds it showcases two very different sides to their sound. Side E follows the earlier recordings of their debut cassette release "Untitled" (ERC051), with use of analogue drum machines, synthesizers, bass an the ingenious use of tape loops made from audio cassettes stolen from local public libraries.

Side O however, points to the future development of the band with experimental sound collages. Built from percussion, voice, flute and drones created using a home made digital delay with a 1.6 second sampling feature for instant soundscapes. At the touch of a button this was DIY at its core when at the time most samplers cost more than a four-bedroom house in Knightsbridge.
Quickly selling out in its original pressing, inexplicably their record label decided not to re-press, so an expanded cassette version called 'Scene In Mirage/Soundtracks' was re-released on the band's own Final Image label with an accompanying video. Here, Emotional Rescue's re-issue combines the best of both versions in a lovingly recreated sleeve taken from the original design templates.Based around original members Roger Horberry and Andrew Hulme, OYC is now returning in its fourth incarnation with live shows and hopefully, new music to come. Watch the horizon.

Following the recent reissue of Vox Populi!s Aither album, Emotional Rescue further explores the more discerning, esoteric sounds of the French 80s avant-garde scene in coute Visual artist, sound designer, musician, label founder and emotional tree consultant Ramuntcho Matta is a man of shifting, relentless talents. Diagnosed with autism at a young age. Therapy based on yoga and music set him on a path, leading to learn from the likes of composter Cuarteto Cedrn. Discovering avant-music at an early age, he moved to New York to study in the "Third Street School of Music", meeting John Cage and going on to work on projects with Laurie Anderson, Brion Gysin and Don Cherry. His architectural concepts applied to composition were explored on his 3 solo LPs from the 1980s. The middle of these, coute, is possibly his most cohesive, exploring the use of extra-European musicians, especially African and Brazilian percussion, jazz horn playing, as well as Uruguayan singer Elie Meideros. Mexicos Cacau de Queirozs performance on saxophone and flute is stunning, former Gipsy Kings member, Jorge Negrito Trasante attributes much of the LPs Brazilian percussive flavour, while Magmas bassist Jannick Top brings gravitas, including performing a water claps duet alongside Matta on the exquisite O Clapo. As one piece, coute endlessly avoids standard musical formulas, seeking textures of far-flung elements; alchemy against a background of freedom to experiment that would be the theme throughout Mattas career, whether setting up SSR records under the alias Michael Pope or in his more recent output, teaching methodology of doubt

Where Ufomammut create mind-expanding, heavy psychedelic, almost other-dimensional sounds, The Mon by comparison is far more intimate, looking inward, as Urlo explores and examines his inner most thoughts through music. In his own words, the goal of THE MON is, "to reach the boundaries of a spiritual soundscape in which the music becomes purification and atonement, a way to bring out to the world inside my soul." Created entirely but Urlo, THE MON builds layers of brooding sounds which sometimes unfurl at a glacial pace and other times lurch with rhythmic propulsion onDoppelleben, each piece distinct, densely packed, and all-consuming in their evocative atmospheres. Analog and electronic instrumentation weaves seamlessly around both instrumental and vocal movements through eight diverse tracks encompassing nearly forty- three minutes of spellbinding music. Doppelleben weaves a creative web of sounds which should entice fans of Ufomammut, John Carpenter, Bobby Beausoleil, Nine Inch Nails, Angelo Badalamenti, and more.

Sweden's Luke Eargoggle, Johan Inkinen, 240 Interceptor, vs American Kid Ginseng, The Swedes let the bassed-up crowd find delicate layers a la Faceless Mind amidst the "Numbers" beat, The Kid makes a 150 bpm "Computer World" turn + bonus beat

'Snakedressed' is the fourth studio album by most active Dirk Ivens's incarnation. It was released in 1997 by Daft Records and had once again the collaboration of Ivan Iusco of Minus Habens Records and Nightmare Lodge fame. A well produced and arranged work with the usual noise infused, yet dance oriented tracks full of harsh bass lines overlayed with intricately woven and noisy synth patches. An album that catapulted Dive as a cult act and one of the strongest influences for lot of artists. For the first time available on vinyl record with all original tracks plus some extras from 1996 including songs from the split EP's with Kirlian Camera and Controlled Bleeding and a couple of tracks from the compilation '2/3' (Hands Productions).

London Modular Alliance is the raw and unpredictable music project from the UK's best known, dedicated modular synth shop London Modular. Its members Simon Lynch, Phil Ventre and Gavin Pykerman met through a shared passion in modular synthesisers. Impromptu gatherings and jams soon turned into live performances at clubs, festivals and museums. From the hushed environs of the Tate Modern and V&A to vast sweatboxs such as Fabric, Bloc, Freerotation, Weather and Berghain, London Modular clearly have a flair for all things modular. This year sees a return to Bloc Weekender as well as new adventures at festivals such as Dekmantel.

They create an intense live show with a huge setup of self-assembled modular gear. Every set starts with one small looping beginning - a patch - and is expanded into a deep sonic landscape. With the use of cables they build unexpected circuits and explore the power of pure electronic sounds without the use of a digital software infrastructure. No laptops, no button pushing, everything is created on the spot using modular synthesizers and is based on live improvisations. Overall LMA tries to keep its live sets in the dark: unrecorded, off the internet and only for those who are present in the moment. A clear break with the capture-all mentality of the internet age.

This album, as the title would suggest, is two (wall breaking and out there) artists/producers coming together - Youth: highly respected music producer, sonic pioneer and founder & bassist of Killing Joke and Gaudi: international dance floor rocker and maverick producer of note. Two bass leviathans duelling their way through sci-fi, psychedelic dub space ....and the resulting album is truly a lesson in synergy.

Astronaut Alchemists was made the purists way; the album was recorded over two years, each session was done together in the studio, face to bass, heating the metal of inspiration and pouring and shaping it as it flowed. As Gaudi said of the recording process, 'something organically surfaced since the beginning of our studio sessions: the chemistry. Chemistry is vital when you work in the studio with another artist, it's that magic thing that you can't really study'. It's amazing, with the schedule that they both keep, that it only took 2 years to coordinate the required studio sessions! The album features Youth on bass, Gaudi on Keyboards and they are both responsible for programming and production. The album was engineered and mastered by Jamie Grashion (AKA Cosmic Trigger) and will be released by Liquid Sound Design.

Astronaut Alchemists is true to its name ...an alchemical showcase of spacious dimensions, a masterclass in weaving it up right and keeping it tight...signatures and sounds from both artists, transmuted by each other into something new and of absolute and unhackneyed grooviness -

This album is of the future but definitely not a stranger.

After a break of 6 years, Atlanta based electronic musician, producer and sound designer Richard Devine returns with a new album 'SortLave' on Venetian Snares' Timesig imprint. Recorded between 2016 and 2017 using Richard's custom built Eurorack modular system and two Nord G2 Modular units, SortLave features 12 tracks of intricate electronica that ranges from abrasive percussive experiments such as 'Revsic' to 'Astra's dazzling juxtaposition of sounds and onto the radiant ambience of the album's closer 'Takara'.

Talking about the album's genesis Devine explains 'I've been using modular synthesizers since I was 17, but have never written complete tracks using these newer systems. This was my first experiment to see if it would be possible and I probably spent about 5 years building up the systems that I used on this album.' 'I wanted the record to sound very different to my previous works which had been more cold, digital, clinical even, and had all been made using computers. The aim here was the complete opposite, to create something that felt very organic, detailed, spacious, big and warm and just as importantly, a record that you could put on and play all the way through that flowed in a seamless way.' This new approach was to prove fruitful and enabled Devine to create music in an entirely new way. 'I really wanted to break free from timeline-based music creation and do things with my hands on the fly,' he explains. 'So the tracks are more like captured snapshot performances where I could experiment and play around with the idea of probability-based sequencing for every patch, string multiple sequencers together that would feed other sequencers to come up with interesting rhythms and melodies. It was really fun coming up with new sounds this way too, I felt like I created several I haven't heard before with this album. Some of the tracks on the album were complete accidents and evolved from something that happened spontaneously. In the end I feel this is one of the best records I have released to date, so I'm very excited to share it with the world.'

Making his debut in 1995, Devine's releases for labels including Schematic, Warp Records and Detroit Underground have established him as one of the leading figures within the electronica community. In addition to his musical productions, Devine has enjoyed a lengthy and successful career in sound design, developing patches for many of the world's leading music technology businesses and working with companies such as Google and Nike.

We don't know what's in the water in Dusseldorf, but apparently it must be good... Latest export product from the city's lively scene is this repress of new label on the block Candomble. Quite the versatile EP with a midtempo banger, percussive house and some more midtempo goodness. Highest recommendation!

Pussyfoot is back with one stonking big compilation album. 'Space Is The Plaice' is a 28-track aquatic space opera which fits neatly onto triple vinyl and a double CD with the extended digital version spanning a massive 35 tracks. The album sees artists contributing worldwide: UK, Japan, Hong Kong, Thailand, USA, and all over Europe. The album artwork by Dan MacMillan and Kieron Livingstone melds together psychedelic prog-rock with space electro-eccentrics themes which cover the 3LP with its tongue in cheek Douglas Adams inspired designs.

'Space Is The Plaice' features exclusive releases including:

Howie B Featuring Norman Reedus - A Letter From Space
This may seem like the unlikely pairing of an electronic music man and a zombie killing super star (Walking Dead) but these boys have a friendship that spans over 20 years. Reedus lends his vocals to an astronaut's love letter written while looking down on the world from space. A dramatic and beautiful spoken word piece with an eerie treated piano and electronic synths.

Blood Wine Or Honey - Brilliant Pebbles
BWOH are: Shane Aspegren, Joseph von Hess and James Banbury - all multi instrumentalists. Their style builds on tribal rhythms, electro-psychedelia, and afrobeat sounds to create an eclectic sound. Blood Wine or Honey are a favourite of BBC 6 music DJ Gilles Peterson and this track continues where their album left off.

Ancient Lights Featuring Flowdan - Crash Landing
Go-to producer Joe Hirst's musical alias Ancient Lights is joined by Flowdan, AKA the founding member of Roll Deep and massive Grime MC. Flowdan lends his vocal stylings to this ambient electro grime track. Slow building synths ebb and flow in and out of X-Files-esque keys steeped in mystery. Gravelly spoken word vocals accompanied by female choral sounds.

Jacknife Lee - Overview
Jacknife Lee AKA Garrett Lee is a huge name in production having worked with the likes of Bloc Party, Snow Patrol and The Killers. 'Overview' Is Lee's first release on Pussyfoot since his 99 album: 'Muy Rico'. Hollow electronics bleeps, cinematic synths, background drums accompany warped sample vocals musing on earth from space. All-encompassing sound without overpowering the senses.

Tojin Kit - Machina
Tojin Kit is made up of super producer Jim Abbiss (Adele, Arctic Monkeys), Chris James (Stateless, DJ Shadow) and Massive Attack cohort Kidkanevil (aka Gerard Roberts). The groups sound is vast, electronic and cinematic and their track 'Machina' is no exception. Intergalactic looping keys steeped in beautiful mystery, joined by grinding beats and robotic vocals.

Pussyfoot is back with one stonking big compilation album. 'Space Is The Plaice' is a 28-track aquatic space opera which fits neatly onto triple vinyl and a double CD with the extended digital version spanning a massive 35 tracks. The album sees artists contributing worldwide: UK, Japan, Hong Kong, Thailand, USA, and all over Europe. The album artwork by Dan MacMillan and Kieron Livingstone melds together psychedelic prog-rock with space electro-eccentrics themes which cover the 3LP with its tongue in cheek Douglas Adams inspired designs.

'Space Is The Plaice' features exclusive releases including:

Howie B Featuring Norman Reedus - A Letter From Space
This may seem like the unlikely pairing of an electronic music man and a zombie killing super star (Walking Dead) but these boys have a friendship that spans over 20 years. Reedus lends his vocals to an astronaut's love letter written while looking down on the world from space. A dramatic and beautiful spoken word piece with an eerie treated piano and electronic synths.

Blood Wine Or Honey - Brilliant Pebbles
BWOH are: Shane Aspegren, Joseph von Hess and James Banbury - all multi instrumentalists. Their style builds on tribal rhythms, electro-psychedelia, and afrobeat sounds to create an eclectic sound. Blood Wine or Honey are a favourite of BBC 6 music DJ Gilles Peterson and this track continues where their album left off.

Ancient Lights Featuring Flowdan - Crash Landing
Go-to producer Joe Hirst's musical alias Ancient Lights is joined by Flowdan, AKA the founding member of Roll Deep and massive Grime MC. Flowdan lends his vocal stylings to this ambient electro grime track. Slow building synths ebb and flow in and out of X-Files-esque keys steeped in mystery. Gravelly spoken word vocals accompanied by female choral sounds.

Jacknife Lee - Overview
Jacknife Lee AKA Garrett Lee is a huge name in production having worked with the likes of Bloc Party, Snow Patrol and The Killers. 'Overview' Is Lee's first release on Pussyfoot since his 99 album: 'Muy Rico'. Hollow electronics bleeps, cinematic synths, background drums accompany warped sample vocals musing on earth from space. All-encompassing sound without overpowering the senses.

Tojin Kit - Machina
Tojin Kit is made up of super producer Jim Abbiss (Adele, Arctic Monkeys), Chris James (Stateless, DJ Shadow) and Massive Attack cohort Kidkanevil (aka Gerard Roberts). The groups sound is vast, electronic and cinematic and their track 'Machina' is no exception. Intergalactic looping keys steeped in beautiful mystery, joined by grinding beats and robotic vocals.

Enigmatic Austin based producer/starlet Samantha Glass untangles their serpentine mind on the ambitious new full length Nine Memories Between Impression & Imprint out October 12, 2018. Since 2010, Beau Devereaux has chronicled their romantic and turbulent process of self-identification as Samantha Glass through the use of electronics, field recordings and a seductive, baritone voice. Abstract soundscapes rise and fall around addictively brooding ballads and introspective monologues as Glass deconstructs themself beneath the weight of their poetry and lyrics. Nine Memories Between Impression & Imprint unveils an allure through vulnerability, elegantly depicting the endless audition of becoming Samantha Glass.

Devereaux came from rural beginnings in the countryside of Wisconsin before spending most of their adult life engrossed in Madison's noise, power violence and punk DIY scenes. They sought to create a balanced form of art representative of their ever fluid sexuality and gender identity while incorporating elements of dark wave, musique concrète and New Age music. Samantha Glass evolved into an outlet for drag-based performance art coupled with drum machines, cassette loops and down-tempo crooning. Through years of touring and a prolific discography, Glass came to be known beyond the Midwest as one of the most dense and multi-layered projects amongst experimental music spheres. This exploratory essence gives Glass a broad crossover appeal as they dive into new territory with each successive release. Narrating a uniquely nuanced perspective on life and art, Glass richly crafts each composition around deeply rooted biographical and contemporary themes, encapsulating a haunting and captivating portrayal of an elaborately creative mind.

Nine Memories Between Impression & Imprint is Devereaux's culminating effort to define Samantha Glass thus far. At times delicately wistful and intensely personal, Glass' emotional tenor is matched by the ingenuity and creativity given to the recording process. Self produced at home, this album embraces experimentation as an elemental part of the writing process. Underwater contact mic recordings share a place alongside warm analog synthesizers as Glass consistently finds ways to incorporate fresh sounds with unorthodox methods of composition. 'Putting the Male to Rest (Pt. 2)' and 'From Behind Our Wings' construct lucid ambient collages out of a vague mixture of samples and live electronics, featuring an illusory feminine voice speaking on behalf of Glass. The songs 'Cruel Anxiety' and 'The Carpenter in Us All' are catchy, beat-driven highlights of cathartic energy that propel the album forward with hypnotic vocals and crushing lyrics. The duality of male to female, spoken to sung and atonal to melodic echoes throughout the albums eight tracks, allowing for satisfying repeat listens and personal connections that go beyond the obvious aesthetics.

Samantha Glass reaches deep within themself to manifest a truly inspiring work of permanence. Nine Memories Between Impression & Imprint surpasses the expectations of long-time fans and recruits the faith of new audiences as Glass reverently embodies an enticing blend of outsider art.

Lookin' at the cover artwork you can imagine what you are gonna get: 2 tracks that were originally from the 'Syncopated City' album from 2008. Just in time for the 10th anniversary of that album these two awesome tracks finally get their vinyl release, cause for some reason they didn't make it on the vinyl version of the album. We always thought that is a shame, cause 'outnumbered' is one of the strongest, if not the best track of the album. People who got the CD of the album probably already know that! London Elektricity was always vehicle for the twisted loungecore D&B creations of Hospital Records masterminds Tony Colman and Chris Goss. And also these 2 tracks fit perfectly into this description. The songs feature the incredible vocals of longtime LE collaborator (and award-winning Jazz Legend) Liane Carroll like you've never heard her before - haunting and suspicious, while the man himself Tony Colman adds his own vocals and adlibs throughout. So it's the first time these 2 fine tracks going to be pressed on wax! Band info: The oldskool classic 'Pull The Plug' was the first Long Player to bear the LE moniker, and was released to great critical acclaim in 1999. Tony took the LE mantle on solo around 2003 and released the seminal 'Billion Dollar Gravy' LP before the birth of the London Elektricity live show. Another classic album 'Power Ballads' and two live DVDs followed off the back of a hectic touring schedule. Having remixed the likes of Underworld, Nitin Sahwney and Hard Fi London Elektricity is a production force to be reckoned with - theoriginal exponent of 'fast soul music' Tony Colman manages to combine heartfelt soul, with a level of musical literacy and emotion unparalleled in Drum & Bass. In 2007, London Elektricity won the BBC 1Xtra Xtra Bass award for best live act.

Superb concept album for a story telling spacial Ambient moment... Discupt surprise !

Mythologen, Aka Alexander Palmestal Follows Last Year's Debut Album 'mythologen' With The 12'' Ep 'church Music'. This Ep Is A Love Declaration To Londons Club Scenes And Some Of The Titles Are Named After Parts Of Districts In South East London.
The Tracks On This Record Are Free And Loose In Its Melodies And You Hear That Palmestal Has Worked On Pure Intuition In The Song Making Process, Inspired By The Surrounding Smells, Sounds And People. As Explosively Impressing As The Album Was, Is Also 'church Music' And The Airy, Uplifting Sound That Has Become Part Of Mythologens Trademark, Is Developed With A Sacral Touch.
Alexander Palmestal Have Since The Days Of Pistol Disco In The Early 2000's Been One Step Ahead Of Most Acts In Leftfield And House Music And Have Created An Own Musical Space To Exist In - Something Most Artist Never Achieve! 'church Music' Consolidates Mythologen's Position As Both A Guardian And An Innovator Of Modern Dance Music

Facit, which debuted on Minimal Wave's sublabel Cititrax back in 2013 now gives us a beautiful Swedish cover on the A-side, about a man growing up still playing with his dolls.The B-side his dark helping hand, trying to reach out.

Pliant, jazz inflected techno meets mutated off-beat breaks and alien electro from New Yorker and co-founder of Exotic Dance Records Jiovanni Nadal aka J. Albert. This is gritty urban techno reflecting on street life in Gotham City. On the A side we got the squealing and hissing grind of "Bloo N Red" followed by the sublime and broken house of "Ting Waan", absolutely loved this bittersweet and emotive piece. On the flip "Dyslexia" has that haunting and dusty attic jam style, much like fellow NYC hero Patricia and then "Earring", equally nailing that particular aesthetic too but with more of an industrial edge with its textured and metallic rhythms doing a fine job. 12" Vinyl 140g.

Das Lang Erwartete Neue Album Der Elektro-dream-wave-künstlerin Pastel Ghost, Ist Das
Nachfolgealbum Ihres Enorm Populären Debüt-albums "abyss", Das Auf Spotify Über Eine Halbe Million Streams Hat.
Vivian Moon, Gründer Und Alleiniges Mitglied Von Pastel Ghost, Ist Ein Wahrer Aufstrebender Star Der Indie-electronic-szene, Hat Mehrere Sxsw-shows Gespielt Und Bereits Mit Mr. Kitty Auf
Dem Hit "habits" Zusammengearbeitet.

ofriviLLiga röreLser incl. FACIT (Minimal Wave) Rmx !
a new reLease fRom towLies käfTen LabeL , the fiRst out in the
bLackANDwhite 7" seRies with a super sad remix from FACIT who just reLeased his debut aLbum on Mimimal Wave!

Black Truffle is honoured to present the first reissue of a true underground masterpiece, Massimo Toniutti's Il Museo Selvatico (The Wild Museum), originally self-released on LP in 1991. Like his better-known brother Giancarlo (whose classic 1985 Broken Flag LP La Mutazione was reissued by Black Truffle in 2015), Massimo Toniutti was active in the vibrant underground industrial/noise scene of the 1980s, contributing to releases on legendary labels such as Broken Flag and RRR and self-releasing a series of cassettes between 1984 and 1988. Existing in a private world apart from the noise and dark industrial tropes of many of his contemporaries, Toniutti's Il Museo Selvatico is an entirely singular work of domestic electro-acoustic exploration. Made up primarily of what Toniutti calls 'small and rare noises' or sonic 'knick-knacks' recorded between 1987 and 1990, the five pieces that make up the original LP usher us into a crepuscular space populated by mysterious traces of everyday life. Toniutti weaves a loose net of distant clanks, dull thuds, metallic resonance and skittering percussive sounds, allowing the sounds to breathe against a backdrop of near-silent atmosphere. Although the haunted ambience recalls the work of contemporaries like Organum, Toniutti generally steers clear of long tones and drones, preferring to arrange brief, sometimes staccato sonic objects into patters of repeating figures and isolated events whose overall compositional shape remains somehow ungraspable. Although glimpses of recognisable location recordings and instrumental sounds can occasionally be made out, for most of the record the sources of the sounds we hear remain teasingly mysterious, an abstracted memory of everyday actions and atmospheres. l Museo Selvatico is accompanied here by an additional LP of material recorded at the same time, composed especially for this reissue into two side-long suites that inhabit the same haunted space as the original LP while occasionally making use of more maximal compositional strategies. Black Truffle is pleased to return this overlooked masterwork to the world. Essential listening for fans of Organum, Nurse With Wound, Christoph Heemann, and the tradition of outsider musique concrète. Lovingly presented as a double LP in a lavish gatefold with printed inner sleeves featuring archival images and notes. Remastered and cut at D&M, Berlin

In the latest release from Public System Recordings we are allowed a look further into the syrupy synth dripping slowed beatdown. Kluentah delivers a chalky electro smash with elongated snares and eerie chords passing from one end of the brain to the other, and to the floor. There is smooth vocal play as well as allowing for incoherent out of context speech samples that stab through minimal jumpy drum work. As diabolical and heavy as the hits and bass is, this enters the swath of dance floor records with a distinct flavor that sets itself above others' execution. Full of sludgy breaks, there is a constant reduction even as sounds and samples are introduced, they enter the roving mulch in a stylish slide.

Just the Right Height is the solo music project of New York-based artist Keke Hunt. Hunt's stop and go, deconstructed songwriting is emotional and bare. Her undressing of the radio hit is so lyrically labrinthine, the urge to dance might escape you — and dance with me.

I Want to breathe

that old song

we danced to

Just the right height is an investigation of pop lyricism and a satire of feminine objecthood; The perfect size, The perfect longing shape to fit inside, the perfect fit. Just the right height is a rubber mouth. Formless liquid silicone poured into a mold that mimes agency, vocalization, but says nothing; careless. An empty silhouette, inciting arousal and movement. Mouthy, Vapid, Stupid, Hot; Vain and thoughtless song.

Tonight let's get drunk, tomorrow hold my hand.

In her album Let Forever Be Only You Tonight, Hunt writes lyrics by compiling text from an online lyric generator which outputs jumbled lines sourced from the lyrics of existing popular songs. Hunt exhales composited speech, a synonym of the virtual pop star whose personality program is compiled from the thoughts and feelings on her fans blog posts and online output; Her face surgically modified to reflect the image of her fans.

Heat rises from the spreadsheet city —
who knows if I was asylum bound

Rhythm stripped of melody is the dominant form in Hunt's musical work. Nevertheless, Hunt intersperses her catalogue with heartfelt, melodic tracks as if to tie a polite bow on a rude package.

For you and I,
So so thoughtless so,
thoughtless so,
thoughtless so careless.

Hunt's earliest released music was written in collaboration with Los angeles based painter Marisa Takal. The tracks released on their 2014 split with Odwalla88 are the product of a 3 year collaboration. Hunt has also collaborated with Multimedia Bryan Edward Collins on a project called Hard World Fashion. This album features a song co-written by Collins and Hunt. Since 2015 Hunt has released music under with tape labels such as Primitive Languages and ALL GONE tapes, under various titles, culminating in her current moniker, Just The Right Height. Let Forever Be Only You Tonight is her first full-length LP and release through She Rocks!

BAR records is the lovechild of BAR Rotterdam, a club founded in 2013. BAR records will release a variety of music linked to the club, by people that are regularly playing in the laid back colorful space that is BAR. We are excited to announce the first release with French label owner of Macadam Mambo, Sacha Mambo, who made us some trippy originals, and local Fader (from Borneo). He created a trancy banger aswell as a more dreamy house track.

REPRESS ALERT:

Bahnsteig 23 say "Hey! Belarus meet Russia With Love". Schmotlz comes to Bahnsteig schnell after Very Russian Cut Outs espionage. Ze Sky Iz Blu. Ze Sky Iz Blu. Ze Sky Iz Blu. Ze Sky Iz Blu. Ze Sky Iz Blu.Groove Groove Groove iz furher. Psych Soft Rock iz leibhaber. Am und am. Dai Mne Piau...Oww. Oww. Ugh. Ugh. Ugh. Piauuuuu...Ugh. Funk verzogen. Soul kilter.

Herbert Bodzin's Revival II' is the next exciting vinyl highlight on this young label. It features completely unreleased electronic music which was recorded between 1979 and 1982. Check!
.
On the album you can hear the sounds of legendary machines like the ARP 2600, the Korg PS-3300, the Roland System-700 Modular synthesizer, the PPG Waveterm and the PPG Wave 2.2 as well as classic synths like the Roland Jupiter-8, the Polymoog and the Prophet-5 - the same equipment used by big names of the German and international avantgarde electronics scene at that time. For example, the ambient Red Ocean' was recorded entirely with the polyphonic Korg PS 3300, one of the most desired and biggest synths of all time. The project features Bernd Hollendiek, as well as Bodzin's two sons, Stephan and Oliver Bodzin on additional synthesizers and partly on drums. The songs are a mixture of mostly ambient, deep, psychedelic, yet experimental and futuristic sounds as well as two more vibrant synth rock recordings with drumming.
We hope that this album will find its way to the hearts and collections of electronic music lovers - somewhere in between the classic albums of Tangerine Dream, Klaus Schulze, Cluster or Eberhard Schoener. As a side note, the album may also show early musical influences of Stephan Bodzin, who became world famous in the 1990s as one of the leading techno producers. Without any doubt, Revival II' should be an exciting lost masterpiece of German electronic music and a must have for synth music lovers - revived and finally alive!

Raw analog engines sound, roaming around concrete paved roads. Hypnotic rhythms mixed up with dystopian sound spheres. A perfect blend of analog synthesizers combined with bowed double bass and drums. CHOGORI project a picture of retro futuristic complexeties, intriguing compositions manifested in a massive HEAT HAZE. Hailing out from Düsseldorf, composed by Ralf Stritt and Gregor Kerkmann with drum performance by Martell Beigang.

Daniel Brandt, co-founder of acclaimed German ensemble Brandt Brauer Frick, is set to release his second solo album for London imprint Erased Tapes on October 12th. Titled Channels, the new record follows the release of the London and Berlin based producer's solo debut Eternal Something from 2017. The seven-track LP is Brandt's biggest statement yet, with the album's thrilling avant-garde framework interweaving chord-driven techno, orchestral flourishes,
rich electronic textures and hints of dark cinematic pop.

Following on from Eternal Something, which captured a contemplative kind of isolationism, with Channels Brandt set out to create an album that captures the essence of minimalism whilst lending it to a more playful context. After performing and recording Steve Reich's
Six Pianos in a group of six, Brandt began regularly composing long meditations on the piano, something that permeates the sound of the new record. Its frenetic energy and shape-shifting identity was also born out of touring with his new band Eternal Something — comprised of Brandt on piano, drums and synthesisers, Pascal Bideau on guitar and bass, plus Florian Juncker on trombone — and a desire to translate both the sound and spiritual unity of their live shows in which musicians locked together to create an intriguing.


Detroit techno with an orchestral background. As with all of the tracks on Channels, 'Flamingo' began life as a sketch with very basic instrumentation, before taking it into the studio to rehearse with his band members, giving the album a live and visceral sound that sets it apart from his debut; 'It was a great experience to do it this way as I have always wanted to have the chance to try out something in a live setting before recording it in the studio and not the other way round,' explains Daniel. 'The actual typical rock band recording style that I
never had the chance to do before.' The album's most immersive, club-ready track 'Sailboats III' is built with a vivid and pulsating bass line that takes inspiration from a Lichtenstein painting, as well
as the UK bass scene and producers like Tessela and Lord Tusk.

The blossoming cosmos of 'Cherry Dream' is informed by Tangerine Dream's iconic soundtrack to the film Risky Business, a compelling reinterpretation of Love On A Real Train replete with darker, electronic elements and live orchestration. 'Daze', co-written with guitarist Pascal Bideau, chimes with an acoustic melody and is carried by a
rhythmic percussive pulse, whilst the understated 'Ltd' was stylistically inspired by Steve Reich's Electric Counterpoint as well as Daniel and his band's live improvisations with orchestral collective Stargaze, whose founder and conductor André de Ridder contributed violin on the album. Title track 'Channels' melds instrumental ambient with melodramatic embellishments, whilst the record's closer 'Twentynine Palms' takes it's name from the vast Californian desert, and was written while Daniel was travelling there, evoking the widescreen and rapturous sound of open space and nature.

With Brandt also being skilled as a filmmaker, directing and producing visuals for BBF and Eternal Something, much of the new album's creative ideas reference a rich visual palette. He directed the video for 'Flamingo', a sideways glance at the art world that takes the concept behind John Cage's 4'33' and turns it on it's head. 'The video for Flamingo is deliberately non performance — people sitting in a
room and watching basically nothing, never really sure if anything is ever going to happen. It's also a play on John Cage's 4'33', except in this instance there isn't even a performer present.' — Daniel Brandt
Daniel's passion for film even prompted him to kick start his own online television channel Strrr.tv in 2017 that since attracted a lot of attention with guest moderators including BBC Radio DJ Gilles Peterson, modular synth legend Suzanne Ciani and Berghain bouncer Sven Marquardt counting amongst the most popular episodes.

Recorded between Berlin and London, Channels is a deeply enthralling listening experience, which sees Daniel Brandt build upon his distinctive percussive sound whilst exploring new and expansive horizons.

Daniel Brandt, co-founder of acclaimed German ensemble Brandt Brauer
Frick, is set to release his second solo album for London imprint Erased Tapes on
October 12th. Titled Channels, the new record follows the release of the London
and Berlin based producer's solo debut Eternal Something from 2017.
The seven-track LP is Brandt's biggest statement yet, with the album's thrilling
avant-garde framework interweaving chord-driven techno, orchestral flourishes,
rich electronic textures and hints of dark cinematic pop. Following on from Eternal
Something, which captured a contemplative kind of isolationism, with Channels
Brandt set out to create an album that captures the essence of minimalism whilst
lending it to a more playful context. After performing and recording Steve Reich's
Six Pianos in a group of six, Brandt began regularly composing long meditations
on the piano, something that permeates the sound of the new record. Its frenetic
energy and shape-shifting identity was also born out of touring with his new band
Eternal Something — comprised of Brandt on piano, drums and synthesisers,
Pascal Bideau on guitar and bass, plus Florian Juncker on trombone — and a desire
to translate both the sound and spiritual unity of their live shows in which
musicians locked together to create an intriguing meld of expansive works.
Intricate floor-filler and lead track 'Flamingo' synthesises the measured pacing of
Detroit techno with an orchestral background. As with all of the tracks on
Channels, 'Flamingo' began life as a sketch with very basic instrumentation,
before taking it into the studio to rehearse with his band members, giving the
album a live and visceral sound that sets it apart from his debut; 'It was a great
experience to do it this way as I have always wanted to have the chance to try
out something in a live setting before recording it in the studio and not the other
way round,' explains Daniel. 'The actual typical rock band recording style that I
never had the chance to do before.'
The album's most immersive, club-ready track 'Sailboats III' is built with a vivid
and pulsating bass line that takes inspiration from a Lichtenstein painting, as well
as the UK bass scene and producers like Tessela and Lord Tusk. The blossoming
cosmos of 'Cherry Dream' is informed by Tangerine Dream's iconic soundtrack
to the film Risky Business, a compelling reinterpretation of Love On A Real Train
replete with darker, electronic elements and live orchestration. 'Daze', co-written
with guitarist Pascal Bideau, chimes with an acoustic melody and is carried by a
rhythmic percussive pulse, whilst the understated 'Ltd' was stylistically inspired
by Steve Reich's Electric Counterpoint as well as Daniel and his band's live
improvisations with orchestral collective Stargaze, whose founder and conductor
André de Ridder contributed violin on the album.
Title track 'Channels' melds instrumental ambient with melodramatic
embellishments, whilst the record's closer 'Twentynine Palms' takes its name from
the vast Californian desert, and was written while Daniel was travelling there,
evoking the widescreen and rapturous sound of open space and nature.
With Brandt also being skilled as a filmmaker, directing and producing visuals for
BBF and Eternal Something, much of the new album's creative ideas reference a
rich visual palette. He directed the video for 'Flamingo', a sideways glance at the
art world that takes the concept behind John Cage's 4'33' and turns it on its head.
'The video for Flamingo is deliberately non performance — people sitting in a
room and watching basically nothing, never really sure if anything is ever going
to happen. It's also a play on John Cage's 4'33', except in this instance there isn't
even a performer present.' — Daniel Brandt
Daniel's passion for film even prompted him to kick start his own online television
channel Strrr.tv in 2017 that since attracted a lot of attention with guest
moderators including BBC Radio DJ Gilles Peterson, modular synth legend
Suzanne Ciani and Berghain bouncer Sven Marquardt counting amongst the
most popular episodes.
Recorded between Berlin and London, Channels is a deeply enthralling listening
experience, which sees Daniel Brandt build upon his distinctive percussive sound
whilst exploring new and expansive horizons.

Aurora Borealis proudly presents the debut album from Fermata. Titled 'Salvaged Space', the album is constructed entirely out of phone and handheld recordings of quiet moments, street performers, instrumental improvisations, and noise pollution; 'Salvaged Space' is a document of the last few years that Fermata has spent experimenting with different methods of arrangement and composition.
"I aimed to prevent myself from overthinking the musical material, instead focusing on shaping and warping sound so that it shared the same alive/imperfect nature of the recorded soundscapes each piece is inspired by.' Fermata is the project of Harry Smith, highly complex, accomplished and nuanced for such a young artist. Embracing the full spectrum of electronic music, field recordings and sound design, 'Salvaged Space' is a deeply rewarding listen with a strong feel of the different geographies involved, giving a sense of linear and temporal travel.

With sincere excitement Co´meme is now delivering KATERINA's very first EP to planet earth: 'Just when you thought it was over'
Katerina from Helsinki - Finland via Sofia - Bulgaria is a passionate music lover, a skillful DJ, an imaginative music maker and an emotional and hyper sensitive artist. She produces music that is essential and timeless, tracks that feel necessary in your life once they have entered it.

Katerina has already contributed to the ever growing, always radical and forward thinking catalogue of the Co´meme music collective, with tracks on the compilations 'Solidarity Forever' Vol. 1 and 3. She also hosts a show on radio Co´meme called Radio Emotsiya, in which she generously shares her broad musical knowledge and her very particular musical obsessions, for instance her steady - and in our opinion very understandable - veneration of DJ Quik.

And yes, her music breathes the emotionality of Hip Hop, the sensitivity of well placed, swinging beats, and that steady survival mode, that essential melancholy in dance music: where melodies tell about love and longing, and rhythms help you to keep going on. 'Just when you thought it was over', here we go again, it's another day on planet Emotsiya, from where Katerina sends us reports about her adventures, always sided by her already legendary white cat No¨po¨: