Beats Новости

Le Matin, always rare and uncategorised, following the reissue of his early synthwavepop tunes on « poussière d'époque » and a track on the good Lena Wilikens' Dekmantel Selectors 005 comp, this new EP on Lost Dogs Ent. let you hear some of his last works. Expect an ultra-cold-minimal-electro riddim, a less-mental-nearly-good-for-the-dancefloor tune with depitched haunted r&b vocals, an analog and bassy arpeggio ride ... On the flip side, Oh My God ! This is the peak-time-for-weirdo-nearly-techno tune, a blast, only for craziest DJs that like broken-frustrated-uncomfortable dandefloors and to finish this well balanced 5 trackers : the « are you depressed that much It's the 10th time you're listening to this OST of a dying world, this won't get any better but at least this is good music ! » tune. Le Matin is a good kept secret that prefer to take care of his kids than to travel the world of nightclubbing with drunk teens (ok that's how it is in France, that looks better in some other countries), but sometime you can hear his music on decks of some wise people and DJs like Call Super, Lena Wilikens, House of Traps, Charles Drakeford, Jon K, Bergsonist, Body Motion...

We are happy to announce Andre Bratten's 12' trilogy! Each 12' edition of 300, no re-press. First out is Un and Pax Americana.

Rough and ready machine tracks from Brazilian producer/December collaborator Innsyter (LA Club Resource). CYN002 picks up where Coletivo Vandalismo left off, channeling that same wild, DIY bedroom studio spirit across nine individual recordings. Opening with sprawling synth motifs fighting against a steady rhythm track, 'Desintegrado' sounds like an industrial dub punk trying to channel early Cluster or Moebius and strangely succeeding. The rest of the LP treats us to vaguely Drexciyan, subaquatic electro ('Bries') and twisted lo-fi minimalism with bonus eerie monologue samples ('Superficial Love'). The one recurring theme on Magnetic Healing is Innsyter's clear love for mournful, post-punk inspired melodies. It comes across loud and clear on almost every track yet never sounds tired. Things eventually draw to a close with the hopelessly romantic new wave instrumental 'Forest Shaman' - a short ballad for all those weary-eyed party-goers who stuck around til the sun came up!

RTRN II JUNGLE , the forthcoming album from UK DnB heavyweight trio, Chase and Status, is a cultural movement - inspired by British music and fashion of the golden years of Jungle music from the mid-late 90's. The two opening singles speak volumes on the project's ethos - with the hard hitting 'Retreat' ft. Cutty Ranks echoing in your ears long after hearing and the euphoric 'Heater' taking on the role of a single that already has the makings of a classic - with additional vocal support from General Levy.



The sound, project and accompanying documentary and installation, will draw on Jungle music whilst also transporting it into the present day, and re-vamping the genre for the modern day music fan. 'We will be representing DnB at it's most soulful, raw, and uncut level' (Will Kennard)

The news comes with a brand new documentary from the trio, filmed in Jamaica earlier this year, which has just been premiered by Redbull.

Transform and Wonder will be the second 12" release on Factory Floor's own imprint H/O/D Records. Transform, a section inspired by Maria's transformation from human into the robot, reveals itself in a haze of accumulating ambience and scattered percussion that evolves into the heavy repetitive bass groove reassuringly stabilizes Maria's journey into metamorphosis. The slow tempo and atmospheric wash of synths and electronics on side B 'Wonder' offering a hesitant hush contrast.

Collaboration between Andrea Neumann (composer, inside piano, mixer) and Mads Emil Nielsen (composer, electronics).

Andrea Neumann and Mads Emil Nielsen's collaboration was initiated in 2014 with a common focus on creating music combining graphic scores, open improvisations and remixing. This led to their 'Deconstruction' series and a graphic score (Framework) interpretation. In 2018 Neumann and Nielsen produced a 4-channel composition and they now release a 10' vinyl.

The starting points for these ten short pieces are selected parts of recorded improvisations made with electronics and inside piano, which were remixed by both musicians. Different musical aspects such as tactility, three-dimensionality, repetition, rhythmical elements and transparency are explored by the two musicians as the ambiguous characters of the original improvisations are transformed into ten new compositions.

Recorded in studioboerne45, Berlin. Edited & produced by Andrea Neumann and Mads Emil Nielsen in Berlin / Copenhagen, late 2017 and early 2018.

Black Box is a series of releases by Mads Emil Nielsen with music & audio originally made for theatre pieces / performances, installations and more. The first release,Black Box 1, is based on music/audio made for MHPH, a dance/theatre performance in DK, 2017.

The series shows the more melodic work of Mads Emil Nielsen who, during recent years, has been focusing on more abstract electronic/acoustic material - such as his collaboration with Andrea Neumann and Framework series (graphic scores). Future releases in the series will include tracks made specifically for radio soundtracks and compilations.

Mads Emil Nielsen (b. 1989) is a musician/composer based in Copenhagen. He works with basic sound sources, often combined with short percussive and orchestral samples, real sounds and an amplification of machine produced errors. In 2014 he founded arbitrary, the label and artistic platform on which he released a series of graphic scores and recordings and various solo works & collaborations including Neumann (2018).

Tape edition of the Bloodline album. One side is the version from the LP and on the flip is a chopped and screwed version.

...a 2x1m metal plate hung on a stand or frame is stimulated by amplifier driven modified motors used as strong transducers, and sensored by pickups. The computer controlled feedback uses digital filters and dynamics effects as signal processing to try to resonate the plates within their individual overtones. These playable feedback filters are controlled as notes by playing increasing and decreasing sounds near the composed frequencies of the notes which evokes speech and 'singing-like' musical phrases in a wide range of frequencies typical of the chosen material. As a result of this arrangement, normally barely detectable resonances are produced in the musical space and create metallic-sounding multi-tonal clusters, whereby, due to the formation of formants and noise between the shifts, fast phrases and extremely slow polyphonic chords emerge from the sound plate. What initially appears as chaotic movements can soon be experienced as structured recurring patterns...

- Winfried Ritsch

Lurka returns to Timedance with the follow to his 2016 single Beater. The Bristol producer turns to dial up to eleven here with two expertly designed carnival stompers. Combining a knack for groove like no other alongside sound design from another planet, this record helps stamp Lurka out as one of the most singular and exciting dance music producers around right now. Take note!
140g record / black sleeve w/ sticker

When looking for music to be released on Magazine, our guideline has always been energy. The key question remains the same: Does the artist have something important to say Does it have a sense of urgency Alex played us these tracks while visiting the Magazine studio in Cologne earlier this year and we were consumed by unadulterated rage. This is anything but a conceptual release, Alex has not released this kind of music before. A side of Alex manifests itself through these techno tracks, that most might not have known before. Brutal yet beautiful, furious yet fragile. A Berlin native who shaped his sense for techno by striving through his hometown and its infamous raves, Alex is now one of the prominent protagonists of that scene - not only when regularly playing at Berghain. The EP harnesses this experience perfectly, fully preserving the energy of the creation process by recording directly to tape. Most productions may have suffered from this primitive method of locking sound into position, but not these tracks from a techno master.

Colundi interception @ 63.401237,-19.035634 89746 64037 86532 02356 97203 56782 53467 66525 56784 78410 common purpose. consideration of data. colundi everyOne.

Finnish mainstayers K-X-P get's remixed by Mika Vainio and Optimo. The latter provides a UK style club mix with narley Manchster type vocals. The real gem comes from the late Mika Vaino where the trademark noise/chord soundscapes juggle with very sparse & slow but rhythmical drums leaving everything centered around the strength of a deep, dark and souverein bass line.

Composed in conjunction with the latest Les Halles long-player, Zephyr, Zonda stands unique among Baptiste Martin's output both in duration (60 minutes) and diversity of source material, smearing samples of Baegu music from the Soloman Islands, J.S. Bach, Max Cilla, and the Croatian Sea Organ of Zadar into a sixty-minute suite of surreal celestial navigation. Flutes, waves, strings, insects, percussion, pitched voices, and spatial synthesis float in and out of frame, alchemizing and unraveling in unexpected ways. It's a vast, perplexing, and poignant listen, spanning solar winds, subdued harmonics, and elusive constellations of transmutational beauty. Compiled & mixed by Baptiste Martin. Design by Dieter Durinck.

On Foras, Siavash Amini further intensifies his sonic studies of the relations between the individual mind and its interplay with the environments that surround it. The four tracks see him returning to his singular approach that blends harsh electronic noise with lush granular synthesis and classical compositional techniques. Over the course of roughly 38 minutes, the album navigates between different and at times seemingly contradictory moods, thus mirroring its underlying concept.

It comes as no surprise that Andrei Tarkovsky, master of Soviet cinema, turned to composer EDUARD ARTEMIEV to score his two lyrical and haunting films, The Mirror (1975) and Stalker (1979), as he had done for Solaris (also available on Superior Viaduct).

ARTEMIEV's magnificent soundtrack to The Mirror is the natural follow-up to Solaris. Dense, slow-moving, and often disorienting mood pieces with Baroque sensibilities resonate beyond the film's dream-like images. For Stalker - Tarkovsky's other science-fiction masterpiece - ARTEMIEV was inspired by Indian classical music and utilized layers of synth tones, flute and tar (a traditional Iranian stringed instrument) to create a central theme as spellbinding as "The Zone," a setting in the film where laws of physics no longer apply.

Superior Viaduct presents the first-time official release of two astonishingly unique soundtracks. Recommended for fans of Lech Jankowski's music for Brothers Quay films, BC Gilbert & G Lewis and Oneohtrix Point Never.

Cat.no.: SV019
Format: LP

Tracklisting

Dark Entries present the first ever vinyl issue of Jon Krocker's debut album 'Monolog' originally released on cassette in 1983. Jon is from Winnipeg, Canada and got his start as half of the synth noise duo Dialog. In 1981-82, while studying for a BA in Film Studies, he would go to the studio and practice. No writing or patch memories, composing on the fly. His set up consisted of a Minimoog, Oberheim Two Voice, Roland RS-202, Roland Space Echo, EML 400, Roland DR 55, Roland System 100 mixer. After playing some of the songs to Impulse Records store owner Roman Panchyshsyn, he agreed release the album on cassette on Contagious Records. Primarily influenced by the German school typified by artists such as Conrad Schnitzler and Kraftwerk, Jon's music exhibits the cold machine ethic of the neumusik. The 12 instrumental tracks are stark and minimal, at times anxious but overall space orientated and flexible.

All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each copy includes an 8-page newsprint zine featuring ephemera, press clippings, photos and liner notes by Jon.

Cat.no.: DE 228
Format: LP

Tracklisting

FIYAAAAAAAH!!!!!!

Coming up for breath from a deep dive into the archives, Knowing Something's third offering comes courtesy of the Synapse team. The A-side features the fast-paced, widescreen, electro-techno track Night Moves, unreleased since the late 90s.


The B-side, Untitled #4, initially arrived in 1995 on BPMF's Button EP for Abe Duque's Rancho Relaxo record label. The original, full-length, unedited version takes up the entire side of the 12", allowing the recording's waves to wash over as it builds up and crashes down throughout its twelve minute runtime

* The Young Paint EP is the first release on WerkLtd. the new record label from Actress and VF.
* Six track mini album from Young Paint - a Learning Program - and Actress.
* Vinyl limited to 500 copies.
Young Paint (aka Jade Soulform aka Francis aka Generation 4 aka AZD) is a Learning Program that has been progressively emulating the Greyscale to Silvertone process Darren J. Cunningham started during the recording of the Hazyville LP on Werkdiscs in 2008. A decade later much of the Actress material, both composed, recorded and performed live has incorporated partially independent YPAi. Throughout the course of 2018 and into 2019 both Actress and Young Paint will record, conduct and perform collaboratively. Their Live AV show at the venue Art Peckham, London on Saturday 13th October will be a debut performance of the Young Paint material. The Mini album Young Paint will be released on limited Vinyl end of September 2018.

Reissue of Eblen's fourth album, wonderful experimental music here. Tip!
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Mexican guitarist and ambient artist Eblen Macari's Música Para Planetarios (Music for Planetariums) was originally composed for weekly performances in the Luis Enrique Erro Planetarium in Mexico City to accompany a voyage through the galaxy. The album, released in 1987 was based around Macari's solo performances using Ensoniq ESQ-1, a Korg Poly 800, two guitars and pre-hispanic Ocarinas. The expanded arrangements recorded for the album include a full stable of pre-hispanic percussion and beautiful baroque harpsichord played by Macari's wife. This expansive interplanetary soliloquy is undoubtedly Macari's masterpiece. Remastered from the original master tapes.

Poolside began as a recording project in a converted Los Angeles backyard pool house in early 2011, producing sunny tracks of subaquatic indie dance music in this makeshift recording studio. Surfacing first in the form of a YouTube video for the catchy track "Do You Believe" Poolside were soon gaining local and national attention, with DJs like James Murphy of LCD Soundsystem, techno legend Derrick May, and disco don Todd Terje spinning these tracks at events and a growing online following. Throughout 2011 Poolside continued making waves with a sound called "daytime disco" through tracks like their cover of Neil Young's "Harvest Moon" and original tunes. In 2012 Poolside worked on a remix for longtime disco punks The Rapture and held fans over with a new single and video for a song called "Slow Down" as they prepared to release their debut album. That album, Pacific Standard Time, was self-released in July of 2012.

After the album's release, remixes for artists like Matthew Dear, Little Dragon and Fool's Gold soon followed, as well as rehearsing and touring with a live band and doing DJ sets around the world. As thoughts turned to a second album, Poolside went on ice for a year to regroup, beginning to work in earnest on another album in the Fall of 2016. While still revolving around the sunny, laid-back disco sound of PST, these sessions yielded the additions of up-tempo dance songs and more guitars, and generally more fleshed-out arrangements. Poolside surprise released their second album Heat in 2017.

Kondi proudly welcomes Reedale Rise to the imprint with this beautiful 2x12" debut album by one of the most fascinating and talented electro producers around these days. After the solid releases on Frustrated Funk and Where We Met it seems the Liverpool wonder AKA Simon Keat has impressed almost everyone with his unique take on classic house and techno compositions in a wide range; from the moody and groovy beats by Detroit legends Carl Craig and Derrick May, while staying close to Drexciya, ITDWIP and Jeremiah R in term of texture and arrangement all mixed with a sound design and ambience found in early Autechre and LTJ Bukem - just to top it up with a tiny little bit of that 90s club minded UK sound delivered by Leftfield, Orbital and LFO. Beautiful synth pads, punchy, crunchy and groovy electro beats arranged around a good ol' fashioned analogue synth bass with a characteristic bending synth lead sound on top is really hard not to love and pretty much sums up what Reedale Rises electrofunk journeys are all about. Luminous Air is one big lush, joyful and emotional ride throughout the late summer breeze and is a sure hit whether you go for a party on the beach, a nighttime drive on Hwy1 or just need an easy night with a drink on the balcony. As long as you bring your turntable!

Svengalisghost captured here in his most true form, the live setting. This recording comes direct from the board during his performance on French television in 2015 and harnesses the maniacal energy of his live set in perfect form. What may be the Chicago born artist's darkest and most plodding recording to date, this is the definintion of deconstructed death-industrial, foward thinking and freeform yet totally focused and razor sharp, plodding drums over open wire electronics and zodiac killer vocals hitting you from all angles. This is sound of evil personified. Limited copies available worldwide.

dark and melodic electro track from Paulus8 .
All 3 tracks are a delight to put through your speakers , get this one for your collection

One afternoon in 1975, friend and fellow music traveler, Harold Schroeder, showed up at Poo-Bah Record Shop where Tom Recchion worked selling records and experimental music to people, forcing them to buy albums that he swore would change their lives. Harold asked if Tom wanted to share in a studio space close to the shop. After seeing it Tom immediately said "YES!". They moved in and divided the space in half. On Tom's half he made drawings, paintings, performances, video, sculptures, installations, and music. Harold had his all set up for music with his newly acquired Steiner-Parker synth and guitars and things. At the beginning they played under the name The Two Who Do Duets. Soon the late-night jam sessions that took place in the back of Poo-Bah moved over to the fourth floor of 35 South Raymond. It was pretty beat up and derelict, the way one imagines an artist's studio to look. They could make all the noise they wanted. No one else was on their floor. The music heard on this LP has remained unheard since it was recorded and was created just before and right after the inaugural concert by the Los Angeles Free Music Society (LAFMS) groups Le Forte Four, Doo-Doettes, and Ace & Duce. That concert took place in late January 1976. The sessions on this release feature members of the newly formed and expanded Doo-Doettes, which now included Dennis Duck, Juan Gomez, Harold Schroeder, and Tom Recchion, as well as Ju Suk Reet Meate from Smegma and Ace, of Ace & Duce. 35 S. Raymond eventually became a sort of LAFMS headquarters, with Chip Chapman of Le Forte Four, artist and future Extended Organ vocalist/guitarist Paul McCarthy, and soon to become singer for Nervous Gender, punk/folk artist Phranc, who along with many other artists and musicians, moved into the building. 35 S. Raymond allowed for free expression and explorations of all sorts. Some wild parties ensued, not to mention the luxury of endless hours of experimentation. Parking was free and so was the art and music. Ace found the tapes for side one ("Tom's Studio") in his archive and Ju Suk Reet Meate found the tapes for side two ("50 Of Every American Are Machines") and edited them both for this release. No overdubs or remixing was emplo

Following last year's evolution from solo Ishmael to the expanded Ensemble, the Severn Songs series marks the most full-bodied and ambitious project yet from Pete Cunningham.

The collection of 7's will branch out like tributaries from the main concept across the year, as Cunningham pays loving tribute to his hometown of Bristol and the surrounding region.

'Severn Songs 01' kicks off the run with two rich cuts that sound quintessentially Ishmaelian, but simultaneously an expansion of his palette.

'The Chapel' starts as a glimmer on the horizon, yet develops to a war cry, a clarion call of grace and impact. Cosmic synth gurgles fill the initially sparse atmosphere, before being subsumed by overlapping sax lines; by the end, only a ghostly imprint of squall lingers in the air. On the flip, 'Full Circle' brings us down from the sky to the earth. Busy, clipped drums are encircled by synthetic flurries, culminating in a climatic release. As a whole, the release keeps these two divergent approaches to jazzwise electronica rotating in tandem. It's an approach that is due to be explored with more collaborators on later instalments. 'The Chapel' comes with a video by Amie Nowlan - who also took the aesthetic lead for Ishmael's live Boiler Room performance in 2016 - which matches the colour and fluidity of the Ensemble's playing. With Nowlan's involvement, the assembling of a crack team of talented friends to flesh out the vision on record, a nostalgic name, and even sleeve art provided by his father, Severn Songs is a new path for Cunningham - but one that ultimately loops back home

Confused Machines' are excited to release an E.P by the composer and producer Ishai Adar (aka Oosh). Adar started his musical journey in the mid 80's as the keyboard player of the legendary Israeli post-punk band 'Nosei Hamigbaat', together with his high school friend Ohad Fishof.After his withdrawal from the band, he released 'Her': An innovative, experimental, electronic dance album, rare in the Israeli music scene of the late 90's. In this album, he fused 80's synth-pop influences ('Depeche Mode', etc.) with a cutting edge techno sound, which still sounds up to date. This album influenced the local underground electronic music scene of the late 90's.Following the album 'Her', Adar became a prominent composer and created soundtracks for motion pictures such as: 'Year Zero' (2004), Oscar-nominated 'Beaufort' (2007), 'A Film Unfinished' (2010), 'Bethlehem' (2013) and 'Mr. Gaga' (2015).In his current project '12', Adar revisits the synth-pop sounds which shaped his musical taste. He infuses profoundness and character to musical genres such as new-wave, Italo-disco, Euro-pop and contemporary dance music forming - multi-layered, euphoric and romantic melodies. A killer acid-techno remix of the track 12 by the legendary Rude 66 is included in the E.P.

Nearing a decade old and with a discography reaching deep into double figures across several different labels (Mexican Summer, INSERT others), David Loca's work under the Part Time moniker really shouldn't require any introduction. Nonetheless, the release of what is officially his sixth album, fittingly titled Spell #6, does signal something of a re-birth and provides a compelling entry point for anyone new to Loca's prolific output. Whereas previous albums were notable for a charming lo-fi production, Spell #6 takes Part Time uptown. "I describe this album as 'my studio album', because it was entirely re-recorded at my drummer Walter Byer's studio, unlike most of my past releases being bedroom experimental pop recordings." Loca produced the record himself, impressively appropriating a classic 80s pop sound that recalls some of the more grand productions of that era - think Stephen Street's expressive production on 'Last Night I Dreamt Somebody Loved Me', Crowded House and The Church's widescreen interpolation of Paisley Underground jangle, and there's even traces Gerard McMann's grandiose 'Cry Little Sister'. In that sense, the record stands as an outlier in Loca's catalogue, and in doing so sheds the sometimes limiting trappings of bedroom recording. Though it is Loca's project, Spell #6 sees him joined by a consistent supporting cast of fellow writers and performers who add a poise and deftness to his vision, most notably Ariel Pink, who makes a guest appearance on lead single, 'I Can Treat You Better'. Reflecting on the song, Loca states, "I decided to take it lyrically to a place as if i were a man noticing an unhappy lady in her relationship and I'm telling her that he isn't good for her." A lead single for its obvious earworm qualities, it also functions as an ideal snapshot of the lyrical themes that run through the entire record: romantic gestures and unrequited love, bad decisions on hot nights/hot decisions on bad nights, and unpinning it all, LA. For this is evidently a West Coast record, like a 2018 take on To Live and Die in LA: expansive, grand, and not a little crazy (in love) from the heat.

Nearing a decade old and with a discography reaching deep into double figures across several different labels (Mexican Summer, INSERT others), David Loca's work under the Part Time moniker really shouldn't require any introduction. Nonetheless, the release of what is officially his sixth album, fittingly titled Spell #6, does signal something of a re-birth and provides a compelling entry point for anyone new to Loca's prolific output.

Whereas previous albums were notable for a charming lo-fi production, Spell #6 takes Part Time uptown. "I describe this album as 'my studio album', because it was entirely re-recorded at my drummer Walter Byer's studio, unlike most of my past releases being bedroom experimental pop recordings."
Loca produced the record himself, impressively appropriating a classic 80s pop sound that recalls some of the more grand productions of that era - think Stephen Street's expressive production on 'Last Night I Dreamt Somebody Loved Me', Crowded House and The Church's widescreen interpolation of Paisley Underground jangle, and there's even traces Gerard McMann's grandiose 'Cry Little Sister'. In that sense, the record stands as an outlier in Loca's catalogue, and in doing so sheds the sometimes limiting trappings of bedroom recording

Though it is Loca's project, Spell #6 sees him joined by a consistent supporting cast of fellow writers and performers who add a poise and deftness to his vision, most notably Ariel Pink, who makes a guest appearance on lead single, 'I Can Treat You Better'.
Reflecting on the song, Loca states, "I decided to take it lyrically to a place as if i were a man noticing an unhappy lady in her relationship and I'm telling her that he isn't good for her."

A lead single for its obvious earworm qualities, it also functions as an ideal snapshot of the lyrical themes that run through the entire record: romantic gestures and unrequited love, bad decisions on hot nights/hot decisions on bad nights, and unpinning it all, LA. For this is evidently a West Coast record, like a 2018 take on To Live and Die in LA: expansive, grand, and not a little crazy (in love) from the heat.

Recorded in the spring of 2017 over three evenings. These raw, unedited, live recordings were fueled by laughter, and Azawad gunpowder tea.

Mdou Moctar is one of the leading lights of electrified Tuareg music, whose rise to popularity was enabled by trading of tracks via cellphones in the Sahel region. He first came under scrutiny in the west when he appeard on Sahel Sounds' legendary compilation Music from Saharan Cellphones: Volume 1. He has since released three LPs for Sahel Sounds, and been touring constantly.

Like Basinski's tape loops morphing over time, appropriation loops are recurrent, fluctuant feedback loops in popular and unpopular culture. Rae Sremmund talks about how they're the new black rock stars with guitars in 2016's 'Black Beatles', but The Beatles appropriated black American rhythm and blues music from the American South to begin with. Kraftwerk's mechanic interpretation of Motown hits of 60s and 70s Detroit was later echoed by Detroit techno producers who subsequently put the funk back in it and made it more minimal. Detroit techno, for one, could never have been without the device of appropriation...but the device is often misused. People want to know where their chicken comes from (free range ,grass fed, no antibiotics ) but they don't want to know where their music comes from. Where does it come from Trace the appropriation loops to find out...

After their stunning debut on ART, electro purveyors LONDON MODULAR ALLIANCE return as they keep up their unstoppable momentum on the contemporary electronic scene. With a slew of high profile live shows behind and in front of them - LMA go from strength to strength as evidenced by this 5 track EP spanning deep, emotive ambience all the way to heavy wobble electro bass. Unmissable!!

Progressive industrial to cinematic ambient, via new beat synth explorations.

Benny Divine's impressive musical CV includes quantities such as The Gary Wrong Group, Wizzard Sleeve and Nashville's prolific purveyor's of Foghat-pop, Natural Child, but it was just a short year ago that Goner gave wide release to the Bênní debut album, I & II, which launched the new sub-genre we now know as 'Hi-NRG New Age' and had its creator casually glancing over his shoulder for the rumored mobs of outraged Skyfax, Mannheim Steamroller and Windham Hill Records loyalists that could never quite catch up to his live performances, as they were not listed in back issues of TV Guide and Reader's Digest: Large Print Editions.

Whereas I & II was, as its title explicitly implicates, the combination of two previously-released cassettes, The Return is a nine-track song-cycle composed for the full-length format. Imagine this album as an alternative historical narrative: not as a source of soundtrack afterthought, but rather the initial spark of inspiration for an entire '70s sub-genre of gritty crime and science fiction films. Additionally, the fuzzy electro-pop chops are just as impressive as the spacey burps and gurgles that made his debut so gripping.

Glasgow's Wheelman provides the tenth iteration of DBA's Dubs series, following a series of high profile releases on Huntleys & Palmers, Studio Barnhus, and his own Stereotone label. Signal is Wheelman's most ambitious effort to date, its searing amen stabs and deep sub bass guaranteed to wreck any club, while floating pads and crystalline strings add a bittersweet moment of rave nostalgia to the breakdown.

On the flip, in line with the DBA Dubs concept of pairing a house track from an up and coming UK producer with a remix by an established techno name from across the pond, Detroit In Effect provide a cold, bleep-drenched take which raises the tempo of Wheelman's original to an almost breakneck speed. D.I.E, also known as Cybonix, were prolific throughout the late 90s and early 00s on their own M.A.P. label and more recently on Rotterdam's Clone.

To coincide with the release of the tenth edition in the DBA Dubs series the label are also making all ten original tracks available as a digital package, while all ten of the remixes from the series get their own bundle, with Wheelman and Basic Soul Unit providing a megamix of each edition respectively.

We are happy to announce Andre Bratten's 12' trilogy! Each 12' edition of 300, no re-press. First out is Un and Pax Americana.

The aesthetics of this EP is related to the universe electro / idm early 90's by a choice of very precise synthesizer. P6, Sh- 101, Tb-303, Tr-808 and to coordinate the whole an RS7000 which comes to rhythm this refusal of modernity. Foreign sequence digs into the techniques of the past to find the answers, he shows his know-how here and uses it to express a multitude of emotions between nostalgia and optimism.