Beats News

London band Tomaga are back with their fourth release under the Hands In tThe Dark banner: Memory in Vivo Exposure.

The EP consists of four original tracks and yet another new musical evolution for the duo. Whilst they still use complex layering and harmonic polyrhythms in developing their original approach, this time the sonic tales they have shared are much more cinematic and dreamlike. These visions are locked up into emotionally charged loops to convey the sensation of a dream in which half remembered things become new zones of feeling.

CGI is proud to present the long overdue 12" debut from Atlanta's own Divine Interface. Having spent nearly every weekend of the past many years DJ'ing in clubs around Atlanta, Divine Interace (real name Drew Briggs) is an expert at weaving a narrative into the frenzy of dancefloor. For his original productions it is no different as Briggs uses his own voice over the tracks to recount seedy tales of late nights, teeth clenched, lit under street lamps, missed calls, decadence and debauchery. This is a 4-tracker of unmatched proportions, simultaneously adventurous and deep while never missing a beat.

As a truly indispensable bookend to any listeners with the slightest interest in experimental music, French culture or the foundations of mechanical songwriting this inaugural release by these Parisian musical revolutionaries not only predicts the future sound of modern composition by almost 60 years but detangles the deepest roots of European popular culture celebrating an important historical family unison in the process. Combining the infant steps of Magma, the sonic blueprint of 1970's TV theme Picture Box and the sculptural creations of Polly Maggoo this important and groundbreaking 3 track 7' EP takes us back to the very first aural glimpse of the future of pregressive Europe at the hands of physical sound sculptures glaring in the face of premature technology. This EP and its varied three-pronged assault is the first step in the legacy of the Lasry Baschet unison uniting the husband and wife team of Jacques and Yvonne Lasry plus their son Teddy (who would later create Magma with Christian Vander) and hard material sculptors François and Bernard Baschet (who would later work with William Klein). It was this creative unison between visual art and experimental music, witnessing the Lasry family exchange their orthodox music skills in favour of crystal rods, balloons, wet bows and metal sheets, that would potentially change the course of European music which was already on the extreme verge of electrocution with the rise of tape music and embryonic synthesised instrumentation. Promoting the phrase Instruments Non-électroniques (as celebrated on the sleeve of the Cacophonic full-length release 11CACKLP) the Lasry-Baschet collective's humanistic music (an attitude upheld by composers like Michel Magne) would later spark the imagination of Jean Cocteau leading to installations at the Museum Of Modern Art leading to a huge shift in the way people approached experimental melodic music alongside the efforts of Harry Partch and other music machine makers. The appropriation of their music in art, theatre, ballet, film and television came closest to UK shores when their composition Manège was used as the long running theme for the children's TV compendium Picture Box spanning three decades (rivalling both The Moomins and The Booktower for the most indelible and nostalgic spooky theme tunes in the history of British TV) by which time Teddy Lasry had independently become one of France's most creative instrumental composers of all time

In the fertile terrain of New Zealand's 1980s post-punk scene, few figures loom as large as the Jefferies brothers. Graeme Jefferies and Peter Jefferies - the primary forces behind This Kind of Punishment - wrote some of the best music to come out on Flying Nun, Xpressway or elsewhere. A dizzying mix of pastoral ballads and DIY experimentation, TKP's songwriting was at once classic and acutely raw.

On their self-titled debut, the Jefferies brothers and Chris Matthews eschew the punk-informed modes of their contemporaries for a sound that is decidedly more deliberate / intimate. Rooted in a marriage between simplistic, classically-influenced piano, alternating guitar chime and sparse, subtle violin drone, This Kind Of Punishment is a contemplative, inventive collection of ideas corralled via economic 4-track recordings, minimal instrumentation and an austere performance style entirely of the Jefferies' own making. Songs like "After The Fact," "In View Of The Circumstances" and "Two Minutes Drowning" boast a living quality whereby the listener can act as bystander to these moments of creation - a trait that the band would expand upon throughout the course of their brief tenure.

First-time vinyl reissue since its initial release in 1983.

The label Refined Productions was launched by Aleksandra Grünholz, graphic designer and producer as We Will Fail, and Jakub Mikolajczyk, head of MonotypeRec label and MonotypePressing. The concept is to run a 'slow label' to not get caught in the trends but to stop, watch, listen, feel and think, then listen again. Their goal is to reset the pace of electronic music output and create little gems that you will listen to over and over again.

New project from RVNG Intl. founder Matt Werth and the dudes (Brian Close and Justin Tripp) behind the multi-media duo Georgia.

The collective minds of Digital Release make deep-psychic-technology sounds. Its music that moves and travels in spheres and projections with an understanding of global tunings, improvisational space, and vast futurisms. Its a tripped mind with peyote rhythms!

Each LP is pressed on 180-grm vinyl and housed in a full colour wide-span matte jacket (with download) and includes a 22x22' foldout full color poster and full colour inner sleeve.

Reference points: for fans of: Pan Sonic/Mego, Throbbing Gristle/SPK, John Cage/BBC Radiophonic Workshop, Vinyl On Demand, Broken both released and previously unreleased material from the eighties, Kanker Kommando's Low Tech 1982-1988 is a revelatory retrospective, shining a light on one of Belgium's best kept secrets. Forming in 1980 as a punk group, influenced by English post-punkers Swell Maps, Kanker Kommando quickly evolved, and by 1982 they were fully invested in making experimental music on primitive electronics. Their music was free of traditional boundaries, and reflected the grimness of their times, which resulted in a deteriorating, roughly-hewn sound.

A welcome return from the elusive soundsystem version kings 'Seekers International' to the NoCorner imprint, and an equally welcome linkup with affiliated afficionados 'Bokeh Versions' who have been championing the SKRS sound of recent.
These cuts are actually dubplate gems left in limbo since around the time of 2014's Rootprinciple cassette for NoCorner, so it's with great pleasure that NC can finally announce the righteous move in all its glory.

Four tracks, mastered to the highest standard and shot back through time, here to present itself with a fresshhh piece of Mysteryforms artwork, with a strong 'hats off' to Wilfred Limonous (the face of late 80's Jamaican Dancehall sleeves).

This is SKRSINTL at their highest-grade standard, with a hazy quartet of dubwise, re-structured and re-imagined in the way that only SKRS can do.

Or, as SKRS put it, very simply and aptly:

SKRS x Bokeh Versions x NoCorner x Mysteryforms x Tape-Echo unification ting seen!'

Edition of 500.
Served in printed sleeve, designed by Mysteryforms,
layout by Studio Tape-Echo.
Mastered and cut by Lewis at Stardelta.

STURQEN transform a raw, layered sounds into pure energy, leaving sound trails that resonate and make you go further and explore dimensions.

Lost-in-time Kosmische / Kraut / Avant-Garde artefact, produced by Toby Robinson aka The Mad Twiddler circa 1975 for his private Pyramid label.

Tolkien inspired dark ambient soundscapes with spooky / ritualistic atmosphere, treated percussions, gongs & guitars, trippy Hammond & Mini-Moog, tape loops, weird noises, drones...

File under dark ambient, proto-industrial, kraut, experimental...

RIYL: KLUSTER, STOCKHAUSEN, TAJ-MAHAL TRAVELLERS, NURSE WITH WOUND, THROBBING GRISTLE, LUSTMORD, COZMIC CORRIDORS...


* 24-bit domain remaster from the original tapes.

* Insert with detailed liner notes by Alan Freeman (The Crack In The Cosmic Egg).

* LP Includes download coupon.

A major work of electronic avant-garde - high quality deep esoterica of the weird and spooky kind.'
- Alan Freeman (Ultima Thule, The Crack In The Cosmic Egg)

Golpea Tu Cerebro' ( Shake Your Brain') is the first ever vinyl compilation dedicated to the unknown yet fascinating Spanish underground cassette scene from the '80s.

During the early to mid-80s, with few resources but unlimited imagination, some people all across Spain (some of them very young) started recording at home their experimental, noise, electronic and industrial cassettes. They were influenced by DIY, Futurism, Dada, mail-art as well as by the early Industrial bands (Throbbing Gristle, Whitehouse, Nurse With Wound, SPK, Cabaret Voltaire, NON, Esplendor Geométrico, etc), which were championed in Spain thanks to adventurous radio shows, fanzines and mail order catalogues selling imported and domestic albums and cassettes.

We're talking about what probably was the first DIY and truly independent music scene in Spain. The dark side of the Movida'. Individualism and avant-gardism in opposition to superficiality and emptiness. Most of these projects were just one-man operations or collectives created by friends: underground tape labels like ä.d.n, El Consumo Del Miedo, Auxilio de Cientos, S.T.I., Obreros del Sonido, Toracic Tapes, 3EM...and fanzines like Cloruro Sónico, Necronomicon, Particular Motors, Syntorama, El Papel de la Merienda...

They released their cassettes in limited homemade editions and there were lot of exchanges with other creators and participations in compilation cassettes from worldwide labels within the International Tape Network.

Here you'll find legendary names like LA OTRA CARA DE UN JARDÍN, COMANDO BRUNO, LÍNEA TÁCTICA, FRANCISCO LÓPEZ, UVEGRAF, ÉTICA MAKINAL, L'AKSTREMAUNÇIÓ, NEO ZELANDA, INTERACCIÓN, TÉCNICA MATERIAL, FÍSODO 13.4 along with obscurities like EL ENTERRADOR ENTERRADO, 1985, ZUMBI-2, BRIGADA NADIE and more.

Including tracks originally released on rare cassettes and compilations along with a few previously unreleased ones.

Sound taken from the original cassettes / reel-to reels and remastered by Ángel Álvarez (Linneo Dos).

Primitive harsh noise, dark electronics, wild tape manipulation, electroacoustic noise, extreme sound art and just homemade weirdness...

52 page bilingual English / Spanish insert includes and introduction/ essay and detailed info about each artist. Lots of photos and memorabilia are also included.

RIYL: early ESPLENDOR GEOMÉTRICO, THROBBING GRISTLE, NON, WHITEHOUSE, NURSE WITH WOUND, VIVENZA, MAURIZIO BIANCHI, MERZBOW...

Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of "Secret" fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself his first syths and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. And so Zanov soon caught the attention of Polydor, who released Green Ray in 1976. It is a work made with minimal equipment if compared to other French sythetists, not to mention their German peers, he worked on the EMS VCS3 synth and used a 4-track Teac and a Revox A77 Mk IV reel to reel tape recorders obtaining huge sound results. You can appreciate an influence from the Berlin school, Green Ray walks the same path of what artists like Tangerine Dream and the likes were producing at the time, Zanov had felt under the spell of Ricochet, but his head was boiling with ideas which gave the recordings a very personal, unique touch.

Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe.

Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of "Secret" fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself an EMS VCS3 and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. By the time of his second LP, Moebius 256 301, issued also on Polydor in 1977, Zanov had already gathered a small collection of gear, including an ARP 2600 and an ARP sequencer, his old VCS3, an RMI Harmonic and a PS 3300. Again under the influence of both first and second generation of Berlin school musicians the LP will appeal to fans of Klaus Schulze or Tangerine Dream, but they will also find a big deal of Zanov's own personal sound on it, since as the musician himself reckons he had little contact with other peers of his generation, so besides a general love for the electronic gear used and the sounds you could make out of them the creative ideas behind his works were all his own. On his second album a richer sound is found, not only due to the use of the new gear, since some of its tracks where recorded using only his old EMS, but also due to his won experience after having taken his works to the life stages in the Golf Drouot boite, the Lase Olympia venue (on the basement of the famous Olympia), the Paris Planetarium or those for planned one month tour (of which in the end only four dates were accomplished).

Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe.

"Invisible Cities", the first collaboration between AIDAN BAKER (NADJA, B/B/S) and bass clarinetist GARETH DAVIS (OISEAUX-TEMPÊTE), offers finest ambient / chamber jazz / subtle drones of a highly meditative quality. Available as 180gr LP and download.

Be it solo, as member of the drone duo NADJA or B/B/S (his trio with ANDREA BELFI and ERIK SKODVIN / SVARTE GREINER) or in various collaborations with artists like TIM HECKER or THISQUIETARMY: the Berlin-based Canadian is one of the most productive and versatile artists when it's about postrock, drone or ambient and without doubt a true master on his instrument, the guitar. In recent years BAKER also starting exploring new grounds as a composer of contemporary / ensemble music - e.g. his composition "An Instance Of Rising" was commissioned by SPÓLDZIELNIA MUZYCZNA CONTEMPORARY ENSEMBLE and SACRUM PROFANUM FESTIVAL for their 2017 edition. "Invisible Cities" marks BAKER's first collaboration with GARETH DAVIS whose eclectic oeuvrespans contemporary classical, free improvisation and orchestral music through to rock, noise and electronica. The bass clarinetist is a steady member of the critically acclaimed post-rock formationOISEAUX-TEMPÊTE and A-SUN AMISSA, interpreted compositions by ALVIN LUCIER with MACHINEFABRIEK, worked with BERNHARD LANG and PETER ABLINGER, performed with musicians likeNY Downtown veteran Elliott Sharp, MERZBOW or ROBIN RIMBAUD (aka SCANNER) and realized multimedia work with artists including CHRISTIAN MARCLAY and PETER GREENAWAY.

Recorded in November 2016 at MUZIEKHUIS, Utrecht, the four tracks create a calm, even meditative atmosphere in their reduced manner that gives much room to the individual instruments / sounds, occasionally spiced up by field recordings that intensify the overall chamber jazz / ambient moods.

Further departing from both the cinematic abstraction of 'Piteous Gate' and the hectic drums of 'Damaged Merc', Berlin producer M.E.S.H's new full-length, 'Hesaitix', is marked by its hyper-ornamented rhythms and a sense of pensive, moonlit spaces.

The atmosphere has shifted, the radical deconstruction of previous releases has given way to subtler interventions, building new structures in strange territories. Shifting from the meditative to states of manic unease, Hesaitix is an unnerving injection into both the social space of club music and the interior space of digital audio fantasy.

How did I become so stupid

A sound can be both formless and over-rendered, like a boneless but fleshy hand from a life drawing class.

What agent could set these broken sounds in motion

A laugh behind an evil curtain. A drummer that's cool and grotesque, a detuned siren. A brushfire under a full moon.

Recorded in Berlin and Umbria, Hesaitix sees Janus resident and PAN staple M.E.S.H. firmly engaged in a kind of sonic world building, a place where the unconscious and the alien intersect.

Very rare Mönchengladbach punk/wave classic from 1984 now available again. Members of this band also played in the more well known EA80. Experimental melancholic dark punk, whose original copies trade for well over 100 euros. Comes with lyric sheet.

The systems that maintain the total spreading and keeps the western civilisation enslaved under the foot of capitalism are destroyed. The analogue reality reaches you unfiltered and seven billion screens show white noise. The fax network is the only thing working..

Hoga Nord Rekords proudly present Ultra Satan! A body that have lent blood from other acts on the label, such as SPR, Tentakel, Fontan and The Exorcist GBG, are releasing their first 7inch. Ultra Satan displays with the two tracks USA and USB, an almost unprecedented unrestrained creative force, stemmed from the ambition to destroy and rebuild. Rebuild something free and unexplored.

Ultra Satan works with the concept of 'More is More' and with that principal they capture the Zeitgeist of over consumption, global warming and skew resource allocation. The music presents one part of the whole ambition of this group, and is the strongest sounding source right now. But the more long going plans of this collective, band or whatever you want to call it, is by secret networks to connect all the freaks who also sense that the end of the world as we know it will come to an end sooner than later.

Ultra Satan is ahead musically, philosophically, politically and spiritually. Join the gathering!

Southern Italian sociologist, DJ and electronic music producer Simone Gatto is about to release his second album, 'Heaven Inside Your Frequencies', in November 2017.

Gatto's second album represents a complete excursus of his personal and professional paths, into which he combines music, words, studies, researches and experiments. Along with the album, split in two parts and to be released on both his labels Out-ER and Pregnant Void, the artist is also releasing his first essay, named as the album; the latter offers a theoretical and practical analysis on the use of sounds and frequencies in diverse areas of interest, dedicating space to music therapy and primordial techniques as well as their application in the current digital and virtual era.

Both the album and the essay result from Gatto's personal experiences as well as his ten-year's artistic career: the love of his motherland and his parents, the first approach to clubs, the studies about the potentiality of frequencies, the electroacoustic experimentation and last but not least, the aesthetic sonorous research.

The the first part of the album showcases Gatto's experimental inclination for electronic and electroacoustic music; as such, the upcoming on his label Pregnant Void, has been created to enhance the sounds of the environment and personal panoramas by agglomerating artists, projects and publications. The second part definitely focusses on Gatto's dance personality and club vision, even so, it stays strongly connected to its first part as complementary for the artist's objective.

Ranging in between his favourite club niches, and collaborating with producers with whom he has shared embryonic projects, DJ booths or vinyl releases, Gatto prepares the audience for a complete journey into his idea of club music and grooves, featuring wide aesthetics and emotional resonance. It goes from the gentle tidiness of ambient and deep techno - 'No Te Olvides De Acordarte', 'Today Will Be Tomorrow ft. Kaelan', 'When I Was With You' and 'Limbo' to the intrinsic vitality of break beat, dub and funk tracks 'Caronte' and 'Holographic Drama' continuing with the dynamism of a typical Detroit techno brand of sound reinterpreted in a modern context, like in 'Forbidden Area' and 'Amazonia ft. Aubrey', and finishing with the joyful wildness of distorted sounds, in 'Jamming On The Couch ft. The Analogue Cops, OL047' in collaboration with long-time friends OL047 and The Analogue Cops; the last track, 'Il Canto Dell'Anima', is a partial excursion into the electroacoustic sound, articulated by ethereal soundscapes and piano arpeggios. The whole work is enriched by samples, field recordings and filtered vocals, sound elements which have been deeply explored in the first part of the album, confirming Gatto's aesthetical aptitude as for the club's universe as for the aesthetic sonorous research dimension.

'Heaven Inside Your Frequencies', recorded and produced between his motherland and other significant spaces and cities - the Ionian coast and natural parks of Lecce, his second home Berlin, the Whitney Museum in New York City and other significant places - 'Heaven Inside Your Frequencies' combines Gatto's theoretical background with personal and artistic maturity, achieved in the last decade. Simone Gatto's life, culture and emotions translate into a sonorous and written project, among sounds, frequencies and attempts to achieve empathetic communication with people. Specifically, the second part of the album in meant to increase the sensibility about potential interaction between performer and audience as for club contexts. The album listening and the essay reading are therefore complementary and equally functional to the achievement of the artist's goal: the empathetic communication through sounds.

Little Movies are Morgan "buckled" Buckley and Ben "soft-shoe" Donohue. Dueling hot analog swords over snowy modular fjords... Improvised CV chitchat. Pre-Post Boiled Egg Heads & Soldering Irons. Recorded on Irish pastures in a single day, stitched together somewhere between Kimmage and Galway-very-west. Live score to a silent 1920s Lawn Mower Man. Mastered by The Bastard. Limited as a mthfkka..

Fascinating and unreleased before music by Otto Sidharta, pionneer of Indonesian electronic music. Electronic compositions that integrated natural sounds and urban sounds to this extent were extremely rare at the time, which gives them a unique form of intensity.Otto Sidharta is born in Bandung, Indonesia November 6, 1955. In 1978 he studied music composition in Jakarta Institute of Arts under guidance of Slamet Abdul Sjukur, in 1984 he continue his post graduate study for composition and electronic music with Prof. Ton de Leeuw in Sweelinck Conservatorium Amsterdam In 2015 acomplished his doctoral study at Institute Seni Indonesia Surakarta and finished in 2016.
Sidharta's interest using environmental sounds and synthetics sounds as well to express his musical ideas developed when he was a student at the Jakarta Institute of Arts. He performed his first electronic music piece, Kemelut, based on water sounds in the First Indonesian Young Composer Festival (Pekan Komponis Muda) in 1979.In 1979 he begin to collect some nature and animal sounds on Nias Island, Borneo (Kalimantan) jungle, Riau islands, and some other emote places. These sounds were used as material for some of his works such as Ngendau, Hutan Plastik and East wind. And some others. Otto Sidharta is still alive and performing around the world.

Southern Italian sociologist, DJ and electronic music producer Simone Gatto is about to release his second album, 'Heaven Inside Your Frequencies', in December 2017. Recorded and produced between his motherland and other significant spaces and cities the Ionian coast and natural parks of Lecce, his second home Berlin, the Whitney Museum in New York City and other significant places 'Heaven Inside Your Frequencies' represents a complete excursus of his personal and professional paths combining Gatto's theoretical background with personal and artistic maturity, achieved in the last decade.

winter, or a time which represents that season, in a metropole that appears to be moscow. the visitor is taking metro no. 6 at leninsky prospect as he is on his way to the ballroom close to gorky park. the air is icy, the sky is grey. a cat, previously hidden among the dirty snow, is crossing his way. the closer he gets to his destination, the clearer he can hear music, music that reminds him of future days.
the dimly lit room is only sparsely filled. on stage a graceful singer, capturing the room with her presence. captive voices merge with chords played on yet unknown instruments - machine rhythms cycle in 3/4 time. the vigorous peasant dancers, following an instinctive knowledge of the weight of fall, utilize their surplus energy to press all their strength into the proper beat of the measure, thus intensifying their personal enjoyment in dancing. here, in the transhuman ballroom, time stands still and values are being dissolved by numeric progressions. spiritually allied, the visitor, the singer and the peasant dancers short-circuit the present moment while the last falling snow slowly turns into rain.
with »walzerzyklus«, atomTM returns to raster to complete his series that has once begun with »liedgut« and continued with »winterreise«. the 7 tracks, created in collaboration with russian singer lisokot, are subdivided into 3 pieces of 2 minutes each and 4 pieces of 3 minutes each, intentionally reflecting the 3/4 time of a classic waltz.
throughout the release, lisokot's delicate vocals are put into different relations to atomTM's rather cool machine music, either complementing or contrasting each other. in the same line, the 3 shorter 'leitmotifs' provide the main theme that is taken up repeatedly in the course of the release.
»walzerzyklus« will be released on CD and as special, laser-engraved vinyl edition limited to 300 copies.

Second release of Nathan Melja on his own imprint Dream Real, this is not a Techno EP, this is not a Bass EP, this is simply a music record. Four tracks going from Ambient to Club music to a weird and slowed down rap by himself on the Eponymous title «Raindrops» Enjoy and much love to y'all.

"Q/R" features the reissue of "Rug"composed by Chen Yi (1982) (previously played by Vladimir Ivkovic, Helena Hauff ...) among others quality new wave, electro pop, industrial tracks composed by Neud Photo, Automatenfall, Beta Evers & Dora Gerl as "Severe Sisters", BB&SS, Denis Frajerman & William Bope project ---> The Blizzard Sow + an exclusive latvian piece from 1988 (19 Gadi Pirms Sakuma).

Illustration by Den Haag based A. Blokdijk (Salò Mentale)

It's about weird electro, new wave, industrial, synth pop and dark psychedelic musik. It includes a remastered version of Chen Yi's 1982 work "Rug" , but also unreleased track from Beta Evers & Dora Gerl as "Severe Sisters", Denis Frajerman & William Bope project ---> The Blizzard Sow. An industrial/rock track recorded by a new band from Berlin, called Automatenfall... A new track from USA based artist Neud Photo, a cosmic electro track from mysterious BB & SS and an exclusive latvian piece from 1988 (19 Gadi Pirms Sakuma)

MFM 019 will be an EP of works by Denis Mpunga and Paul K. Combining elements of traditional African music with experimental electronics, the Belgian/Congolese duo released only a handful of tracks, scattered across a few rare LP and cassette compilations that were put out in the mid eighties by obscure european labels . This release also includes a few previously unreleased songs that were found on the original master tapes

Sen Am' is the third album by London/ Freetown based artist Duval Timothy.

Drawing upon his Sierra Leonean and British identity, 'Sen Am' which means 'send it' in Krio is Duval's most personal album to date. The album continues Duval's work on solo piano on tracks such as "Whale" as well as introducing layers of vocal samples, software instruments, field recordings and WhatsApp voice notes from friends and family sprinkled throughout the record.

The project hosts one feature from longtime collaborator Nicholas Mandalos who's slide guitar Duval layers on the track "Language".

Sen am is Duval's first release under his own label Carrying Colour. The album was recorded, mixed and designed by himself. In this way the project brings together the many disciplines Duval work's across into one wide ranging project.

Cong Burn are a tight knit collective reaching from Salford to Glasgow via County Durham and Middlesborough. An initial series of DIY cassettes and limited CDRs found their way into sets from Ben UFO, Lee Gamble, Tasker, Bake and Mosca and earned plaudits from The Quietus and XLR8R. Their first 12 consists of unreleased material from Haddon, Howes and Perfume Advert (1080p, Opal Tapes, Where To Now) and a reworked L. Pearson track taken from his debut release (CBW003 L. Pearson Stone Circles). 2017 will see Cong Burn artists releasing music on Whities and UIQ as well as a performance at Freerotation.

Double LP compilation of Dutch electronic artist Michel Banabila focusing on his incursions into otherworldly and imagined realms. LP1 is a compilation of works spanning over 20 years that acts as a bridge between his earliest work and his contemporary practice. LP2 is a reissue of his early masterpiece Marilli, a highly sough-after album that acts as both an LSD inspired DIY tribute to Byrne and Eno's Ghosts and a youthful exploration of Banabila's personal background and his experience as a squatter in Amsterdam in the early 80s. Gatefold LP with archival pics, essay and artwork by Alan Briand.

When the derangement has reached the limitless limits. Like the sound of a light-beam reaching the immense gravitational waves of a black hole. Is there sound in nothingness This is your Outermost reality.

Listing somewhere between the cognitive and the corporeal comes the third release from Gratone. The Periphery of a Building', a live remix work featuring long-time collaborators Audun Kleive on percussion and Jan Bang on live sampling sees the young Norwegian label expound on the territories between extended jazz and the dance floor through a four track LP.
Veterans Audun Kleive and Jan Bang tap into something innate that moves perpendicular to the techno ethos perpetuated by the label's previous releases.
The Periphery of a Building', is a work that brings the past into the present and draws a red thread between genres. It juxtaposes disparate ideas between the dance floor and jazz, and ensnares itself in the tangled web of tradition and progress in a bold indefnable musical dialect. Upholding the ethos of Gratone by negating expectation Periphery of a Building' also calls in a new era for the young, but fertile label.
Periphery of a Building' is Kleive and Bang reconsidering live Punkt remixes* of Etenesh Wassie & Mathieu Sourisseau, AtomTM and Clarinet Factory & Floex. In their selection of source material for the Gratone LP, they eradicate, and then reconstruct tradition.


*The Punkt live remix concept puts third-party musicians, producers and composers in a real-time remix situation during a Punkt festival live show.


Fiona Talkington:
Stian Balducci's Gratone (grey tone) label inhabits an exquisite genre-defying world.The latest release features two of Norway's legendary, pioneering musicians, live sampling guru and co-director of the globally acclaimed Punkt Festival Jan Bang, and Audun Kleive, a musician whose work over the decades has repositioned the language of drumming. Together they forge an exquisite, adventurous path, as delicate as chamber music, as powerful as rock, and engage with samples with respect, a spirit of adventure and a creative vision which is simply inspiring.


Limited 180gram vinyl in hand stamped recycled cardboard jackets with silkscreen print.

Night Blind is Richard Fearless' second release on Drone's white label series. The title track coalesced in the early hours of the morning as diffuse, Turneresque lights glimmered across the Thames and the container was pounded by a storm. Unnerving and melancholic yet with a glimmer of light, this is Fearless at his best.

On the B side is Cancan. With Xavier's spiritual acid head, Kenichi Iwasa, on percussion duties, this is one for peak time body shaking.

Both tracks were recorded and mixed at the Metal Box by Chris Blakey and produced by Richard Fearless.

After nearly a decade in the making, Zomby finally dispatches Mercury's Rainbow, his astonishing and uniquely formulated dedication to Wiley's series of Eskibeat releases, a.k.a. the cornerstone of grime.
Originally recorded over an intense couple of weeks while suffering from circadian dysrhythmia,
Mercury's Rainbow documents Zomby riffing on intricately hand-programmed arpeggios, using theories of colour and its relation to the sonic chromatic spectrum - the circle of fifths - to place an expressively avant spin on the Wiley Kat's slyding Triton squares and frozen, post-garage drum patterns.
Rather than simply imitating Wiley's foundational unit of grime currency, Zomby innovates with a structure of bewildering, modal styles, refracting 16 diamond-cut permutations according to a colour-sound spectrum of tonalities. In the process he effectively loosens up and liquifies the Eski riddim, rendering its bones and sinew in varying states of reactive, physical deliquescence or GIF-like micro-organisms.
For dancers and DJs, the fluid contours and viscous, displaced rhythmic anticipation of Mercury's Rainbow suggests myriad geometries for movement in-the-mix, and serves to single-handedly put to sleep a whole genre of also-ran, prosaic 'future grime' thru its methodical, inventively ground-up construction.
While it's difficult to say with certainty, if Mercury's Rainbow was issued at the same time it was created, it may have arguably altered the course of UK grime instrumentals in much the same way
Wiley's original template coined a whole new genre, essentially making it the last word in grime futurism, proper.

This is the new release by berlin based techno duo I/Y. the music is part of an interdisciplinary project between the international artist collective exc and I/Y which included an exhibition in a downstairs parking lot, the publication of the artistbook "pxrkxnglxt 2" together with the novel "raum in einem raum" by exc-co-founder eric keil and a short unmoved silent film for which I/Y did the soundtrack. This soundtrack now comes as an exclusive vinyl release along with an inlay artist edition, showing the dark scenery where the" film" takes action...
The artist book and the novel are published on rhein verlag and will also be distributed as a special edition together with the record at papierundgelb.de.
Vinyl comes with limited edition artwork by EXC Artist collective (high quality print)
Dolphins control the moon. It's quite far-fetched, but what if dolphins are indeed dangerous super intelligent creatures that created a secret base underwater from which they control a mercury-fueled spacecraft From the Earth's natural satellite, they can manipulate our minds with a special signal vastly known as the I/Y XXX sound wave. Think about it, question everything.
This is the beginning of a new series for the label, which will probably showcase different collaborations with dolphins and artists from different fields.
So Long, and Thanks for All the Fish
DJ PROMO / PRESS

One of the boldest new producers to broach the dub sphere in recent times, Jay Glass Dubs is subject of Dubs, a prime 'early years' survey of his work, compiled by Alessio Natalizia (Not Waving) for his Ecstatic label, and released quick at the heels of their ace TRAX set and Novoline album.
Written during what Dimitris Papadatos, aka Jay Glass Dubs, describes as 'an adventurous and bold period', and holding material variously issued by Hylé Tapes, THRHNDRDSVNTNN, and Seagrave between 2015-2016, the Dubs compilation frames a singular, stripped down take on classic dub forms, wherein Jay Glass Dubs perceptibly retains the sound's heavy function and mystic qualities, but subtly updates its palette with a range of nods to shoegaze, darkwave synth styles and weightless dynamics.
The results form a sort of ghostly, filleted subtraction of classic dub architecture, all plasmic tones and diaphanous, boneless structures buoyed by an often overwhelming, yet somehow intangible
bass presence. Beyond the obvious, thematic ligature that connects the material, which was all recorded within a very short period of time, the artist also suggests there is an underlying, encrypted similarity to the material which is 'merely apparent to me', and awaits much closer investigation from keen ears.
From Jay's eponymous 2015 debut for Hylé tapes, listeners will encounter the heaving smudge of Definition Dub, the serpentine, Coil-like digital delays of Grumpy Dub, and a grime drone drill Depression Dub. Off the II tape for THRHNDRDSVNTNN comes the darkwave synths and militant step of Magazine Dub recalling a gauzier Equiknoxx production, next to the bass-less scudder,
Detrimental Dub and the shoegazing bloom of Daria Dub, while his III tape tees up some abyssal highlights in the vertiginous Hilton Dub, the melancholy, Basic Channel-scoped scale of Sieben Dub, and the HTRK-eaque starkness of Everlasting Dub.
Exclusive to the set is Perfumed Dub, recorded in 2017 and pointing to vast, layered, atmospheric directions for a timeless project which is only just hitting its stride.

Klaus returns from a 2 and a half year hiatus from himself with just 11 minutes of music - that's an average of less than a second of music per day, which is frankly ridiculous. You might recognise the A side if you were there when ben UFO opened up for jamie the xx at brixton academy, the only confirmed occasion this tune has been played in public. Few are brave enough to do so as it is pretty murky.

'youve gone full heart of darkness eh' (morris 'da boss' kudos)

'lenna woke up when I played it, she cried but then grinned' (manchu)

Pan Sonic, arranged and edited by Barry Adamson, with an additional re-arrangement by The Hafler Trio.
Here Barry Adamson and Pan Sonic have composed a 12 minute music piece that is performed by the Hljomeyki choir and Pan Sonic.
"...a blend of an Icelandic choir performing Barry's (treated) microtonal, urgent score is slowly infiltrated, first with an electronic breath and then by well-rounded bass that evolves into a satisfactory crescendo before the scary humhum returns... highly successful" (Vital Weekly).

We are really honoured to present a 12'' EP collaboration between the mexican band Ford Proco and the legendary UK electronic pioneers Peter Christopherson/John Balance aka Coil.
Ford Proco were formed in 1986 in Tijuana and they are considered the godfathers of the industrial electronic music in Mexico.

The story behind the recording of the two tracks is like a fairy tale.. apparentely the band members Robert Proco (sampler & synthesizers) and Wito Lavolt (bass, keyboards & drums) met Peter Christopherson in Los Angeles in the occasion of The Orb show back in the 90s and they exchanged phones & emails. Months later 'Sleazy' call and invited them as extras for Ice-T videos..

The tracks were composed following the method of the 'expansión naranja'; Peter Christopherson was adding sax, drums and effects, while John Balance provided his magnificient voice.

Both the tracks were originally recorded in Autumn 1999 and they are unreleased on vinyl. The tracks were directly transferred from the original DCC (Digital Compact Cassette) and remastered by the mighty Rude 66.

Cover artwork design by Alessandro Adriani, labels artwork design of sacred geometry logos by Maximiliano Lizárraga.