Beats Novedades

2x 12" BOX !

2x 10" BOX !

If you fancy the idea of conceptual sound art that recalls Oval wrecking Wendy Carlos Clockwork Orange score, you're recommended to read and listen on...
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Principium 2.1 is the result of the result of a result, drifting further and further away from its original idea, as usual... The foundations for these recordings were laid when fellow Belgian artist Vaast Colson invited Remörk to interpret one of his artworks using sound. The chosen work was Principium which is based on the sheets of colour dot stickers that galleries typically use to denote sold artworks. Drawing random lines across these sheets, Colson ended up with small fragments of lines on the stickers which he then reassembled into a new continuous line or a closed shape, and which in turn he thought would make interesting graphic scores.

The sticker sheets, with their 8x12 grid resembling a sequencer, immediately appealed to Delacourt. This paved the way to Principium 1.0: a modified casio keyboard from which all keys but a single octave were removed, and to which an 8x12 sequencer was added. The latter uses the same layout as the sticker sheets, activated by placing white magnets on its surface to build sequences, mirroring the blank spaces of the missing stickers in the original artwork.

In 2013, Peter Fengler of De Player/DOB records asked Dennis Tyfus to make a Principium 1.0 record, though Delacourt wasn't entirely comfortable with the idea of a 'definitive' recording. After some processing and rethinking the whole thing Principium 2.0 saw the light of day in 2015: an edition of 12 ten inch records, each one containing a different note combining to the full 'octave'. (The drones on each record contained various layered octaves, so that last bit is not strictly accurate.) The first record has the original recording, which is a slowly-shifting ten-minute organ-and-synth improv thing in a C note. Each subsequent record has that same recording sped up until it reaches the correct pitch: B note at around 5'20". The Principium 2.0 edition also contained a custom-built device that plugs in between the record player and stereo, switching the sound of the record on and off using a magnetic sensor. The magnets are placed around a 12' metal plate (also included) that sits underneath the record, turning the turntable into a sequencer.

For the presentation of Principium 2.0 at Stadslimiet Remörk used six turntables, matching-up with the original six sticker colours (which were replicated for the vinyl). Delacourt programmed a random score generator in Pd that determined which (if any) of the two records for each turntable was to be played, at what volume, and the mode the electronics should be in (the magnets can cause either gaps in the sound, or bursts of sound in the silence). This score was then followed for eight hours continuously. The Principium 2.1 LP contains four straight excerpts: no edits, no processing. These excerpts, selected by Remörk, quite accurately represent the possibilities of the installation, but also hold their own as musical miniatures.'

Tapes at the control! Superstar follows up his previous 12" for the Estonia's Porridge Bullets, this time with a collab project with Tapes (Jahtari, EM, Sextags, Meeuw Muzak...) . Ltd pressing, cut reggae 45 style (large centre hole). Big TIP!
"..a disconsolate love-cry of a man gripped with feelings of loss. Emotions laid bare on a tender night-drive dub with tinkling synths, recalling the memories of an unearthly beauty."

First press 50 copies only - A side carry 3 ambient noises and B-side 4 Hip Hop or Slam tunes... creative out of the comon fields music remind me some of the Cavage Label... Restless !

Limited to 200 copies on yellow, labelless vinyl is the latest release on Leipzig's Minor Label, fusing the creative forces of the two artists that have been responsible for a main part of the labels output throughout the past two years. Whilst Yvat fuses heavy distortion, beat twisting and melodious Electronica in a kind of Aphex Twin-manner on the A-side we see Tlic explore cold, grinding, sci-fi'ish soundspheres based on a slow, pounding 4/4 foundation on his B1 tune "Digital Kautschuk" whilst things are speeding up with "Homeo Sapiens" on B2 to a not less grinding effect. Frosty.

The Owl's Map...some of the most delightful electronica to arise in Britain since Aphex Twin, the Black Dog and Global Communication.' Bethan Cole, The Sunday Times

First released in 2006, The Owl's Map was the second LP from Belbury Poly, the recording alias for Ghost Box's co-founder Jim Jupp. By turns jaunty and dark, the music was inspired by TV soundtracks, library music, English folk music and 1970s electronic music technology. Although its antecedents may have been Boards of Canada, Stereolab, Plone and the Look Around You TV series, this album was to set the tone for the now familiar hauntological culture of Penguin book style packaging, 70s horror movie occultism, blogs from imaginary English towns, ersatz public information films and darkly ironic fakes of forgotten children's TV & books.

The Owl's Map has been re-mastered by Jon Brooks for this first outing on vinyl. Ghost Box designer, Julian House has adapted the original CD artwork and text to the new heavyweight vinyl format. It includes a colour card inner sleeve with a visitor's guide to Belbury and a free download code card.

"If Ghost Box are the torch bearers for the hauntology zeitgeist', as Simon Reynolds suggests in The Wire 273, then label cofounder Jim Jupp's Belbury Poly is the psychogeographer amongst his cohort. On The Owl's Map Jupp aims for nothing less than the (re)creation of previously unknown topography."
Jon Dale, The Wire

"Belbury Poly's music, while ripe with anodyne melodies and soft-toothed waveforms, is unsettling. What unsettles, of course, isn't just the thought that all the snoozer science reels called to memory were actually much more quietly batshit and fascinating than I'd ever realised as a kid. It's the possibility that my memory has distorted it even further, that my reaction to Jupp's music is itself queasy, misfired nostalgia."
Mike Powell, Stylus

Rephlex-ian electronix by Brainwaltzera, sometime somewhere. Don't ask, just play and make braindance great again. 4VJ/MI/EOIN/PAJ/DKAPE/AP/SP. STRICTLY NO REPRESS.

Shit & Shine's sidestep from percussion led bunny rabbit rock ensemble performance based glee to ultimate heavy fools of the sticky dancefloor remains one of the more inspiring turn around's in recent years. With highly acclaimed releases on Editions Mego, Diagonal, Riot Season and others Shit & Shine have wasted no time clearing away the rubbish whilst cutting up their own path towards giddy bass heavy shape shifting dance mutations. Snapping the twigs of disco, hurling clouds of exquisite dissonance, mangling modulations, boiling beats, twisting tweaks... this is a crew that will throw anything at the wall, and you. Some People Really Know How To Live presents a machine music built for the house, the street, the beat. For now, for never. In paradise all (earlybird) tickets are free and as you face your maker it is Shit & Shine who will truly set you free.

I have had an idea if I apply the neural network to create my sound work for long time. When I had a performance at Centre Pompidou with Peter Rehberg and other friends I tried to talk about the idea with a French guy from IRCAM. But, he couldn't understand my idea, which by using neural network the sound I create would never have any repetitions.

That was 2002 and I had to wait until 2015 when I had a grant from New York State Council on the Arts through Issue Project Room, then its director Lawrence Kumpf applied for my new work. The grant finally made possible for making my cherished idea, the neural network piece, reality.

I had talked about the idea with Prof. Tony Myatt at Surrey University, UK and he developed the software for the piece with a team included Dr. Paul Modler. At the lab in the University a series of my performances of my MP3 Deviation were captured and used to train Kohonen Neural Networks to develop artificial intelligences that simulate my performances. Hence a birth of new piece AI Deviations. I had a premiere at Issue Project Room on June 9th 2016 and the venue was more than packed and here is the performance of the piece. (Yasunao Tone)

The second edition of 'Vicarious Memories' by These Hidden Hands realises 5 finely crafted remixes of last year's expansive LP of the same title. This version features powerful reworks from Telefon Tel Aviv, Hypoxia, Lustmord, JK Flesh and Death In Vegas, out on June 23rd, 2017. Telefon Tel Aviv offers up his reinterpretation of 'Glasir;' a solemnly disconcerting reduction of the original flooded with warmth, depth and space. This is followed by a contribution from Hypoxia a.k.a the illustrious Drumcell, who makes his mark on the beautiful vocalised track 'Telepath,' imparting a heavy sense of melancholia and depth on to the listener. A dark atmosphere is woven by Lustmord on his remake of 'Socotra,' with its enveloping celestial melodies and ominous reverberating drones that unfold throughout. JK Flesh boosts the energy of the release with his distinguishably distorted mix of industrial, dub and power electronics that shuffle and roll the listener along this spectrally bright reincarnation of 'Dendera Light.' British producer Death In Vegas embraces the mystical facet of 'Angkor;' patiently exploring serene soundscapes with much depth and colour.

Robert Scott Pearson's music can be viewed as surrealist, impressionist, post-industrial, mystical or avant-garde, but it goes beyond categories. His work embraces software, philosophy, poetry, visual arts, and generative algorithmic creation in general. At an early age, he began to experiment in this field, releasing his first music privately on cassette, and he was part of the undergound industrial scene in Seattle. Post-industrial but not really nihilistic, he continues nowadays to produce his beautifull music which has anticipated for more than 30 years IDM or modern ambiant for example. This first issue on vinyl and first official release of this discreet but brillant composer is truly a big joy.

REPRESSED !!
With a sonic portfolio that boasts commissions for the Xenon classic pinball machine, the sounds for the Meco Star Wars theme, the Atari TV commercials and the electronic sound effects in the original Stepford Wives film (amongst many others) the mutant electronic music CV of Suzanne Ciani is proof that in a 1970s commercial world of boys toys, monopolised by a male dominated media industry, a woman's touch was the essential secret ingredient to successful sonic seduction. A classically trained musician with an MA in music composition this American Italian pianist was first introduced to the synthesizer via her connections in the art world when abstract Sculptor and collaborator Harold Paris introduced Suzanne to synthesizer designer Don Buchla who created the instrument that would come to define Ciani's synthetic sound (The Buchla Synthesiser). Cutting her teeth providing self-initiated electronic music projects for art galleries, experimental film directors, pop record producers and proto-video nasties Suzanne soon located to New York where she quickly became the first point of call for electronic music services in both the underground experimental fields and the commercial advertising worlds alike. Counting names like Vangelis and Harald Bode amongst her close friends Suzanne and her Ciani Musica companybecame the testing ground for virtually any type of new developments in electronic and computerized music amassing an expansive vault of commercially unexposed electronic experiments which have remained untouched for over 30 years... until now.

Finders Keepers Records are happy to announce a new creative archive based relationship with Suzanne Ciani, a very unique and celebrated experimental composer in her own right, who, as one of the very few female composers in the field (Save Chicago's Laurie Spiegel, Italy's Doris Norton, and a post-op Walter Wendy Carlos) turned a hugely significant wheel behind-the-screens of many early computerised music modules throughout the 1980s dating back to her formative years studying at Stanford's Artificial Intelligence Labs in the early 70s. Suzanne Ciani's detailed and academic approach to music and electronics coupled with an impeccable sense of timing and melody (and a good sense of humour) shines throughout this new collection of previously unreleased recordings. Lixiviation complies and recontextualises both secret music and commercial experiments of Suzanne Ciani made for microcosmic time slots and never previously documented on vinyl or CD. This is the first sneak peek of the early Ciani metal music and non-pop that later went on see her nominated for multiple Grammy awards for her later achievements which brought synthesiser music to the new age movement.

Wabi Sabi is a beauty of things Imperfect, impermanent, and incomplete. It is a beauty of things modest and humble. It is a Beauty of things Unconventional." Malka Tuti is launching it's new dance-oriented 12" series with none other than the mysterious Japanese producer - J.A.K.A.M. Infusing south egyptian singing, laid on endless percussion grooves, Violins, Sax and more. Jakam produced a track that both echoes the past and forsees the future, making our linear concepts and understanding of time irrelevant and obsolete, letting the dancer drift away in his mind to a world where ancient Aswan songs and drum-machine beats complete each other in harmony .... On the flip side you can find Disco Halal's head honcho Moscoman, creating a peak time moment for every party.........

Swedish noise agitator Dan Johannsson bothers his good pals at iDEAL with a brilliant new LP following his Aska split album with Puce Mary in 2013. Malign by nature and intent, his overdue return to Joachim Nordwall's label is a sorely strung out and decayed thing, a dank space hankering to be inhabited by listeners who want or need to be pushed into uncomfortable headspaces. If you're into anything from Jandek to Wolf Eyes to The Caretaker - this one's for you.
Malign trades in a sense of depression and negativity that draws strength from the vacuum behind hope, vacillating forlorn, Loren Connors-like guitar melodies and rubbled shellac samples that recall The Caretaker with passages of fierce distortion and slurried atmospheric textures that project hellish images of waterboarding and abject terror on the mind.
The guitar pieces are almost Jandek-like in their awkwardness, often morphing mid sentence into the kind of shuddering knots that Aaron Dilloway would be proud of, steadily toeing away hope in favour of full depressive immersion and feelings from the brink.
Ultimately, though, the record wouldn't be so convincing without its severe sense of sincerity,
honestly conveying that pall of darkness without any ironic distance. It's a proper downer in the best way. As the label say 'Malign' is a hopeless, depressive record. If you had any hopes for the world, 'Malign' will erase them'.

Jam packed comp of skits, scratches and jams courtesy of friend's, past guests and contributors to Antwerp's premium freestyle throwdown, Destination Eaaaaarth.... more info and final artwork coming soon... TOP TIP!

- LP edition of 400 copies worldwide - clear and black randomly packed vinyl. NON-RETURNABLE.
- The LP is housed in a letterpressed jacket designed by Daniel Castrejon with photography by
Faith Coloccia.
- Menche and Turner have previously released albums with labels such as Touch, Ipecac, Editions Mego, Hydra Head, RRR, Taiga, Important Records, Sub Rosa , etc.
- Turner and Menche worked over a period of 2 years to complete the album using voice, field recordings, electronics, guitar, etc. The album was then mixed by Mell Dettmer (Earth, Eyvind Kang, Jessika Kenney, Sunn0))), etc)
- Turner and Menche have previously collaborated with artists such as Justin Broadrick, Kevin Drumm, Merzbow, Aaron Dilloway, Stephen O'Malley, The Bug, James Plotkin, KK Null, Circle, etc.
- Running Time 32 mins.

Released to coincide with Kraftwerk's forthcoming June 2017 tour - their first UK dates since the breathtaking shows witnessed at the Tate Modern in 2013 - Parlophone are proud to announce the release of Kraftwerk 3-D The Catalogue on 26th May. This is the ground-breaking 3-D Kraftwerk Concert brought thrillingly to life, developed using high definition 3-D visuals, with Dolby Atmos surround sound and presented to the technological and audio standards one would associate and indeed come to expect from the pioneering Germans led by founder Ralf Hütter. For the very first time, every Kraftwerk fan can now experience a "Gesamtkunstwerk - a total work of art' in the comfort of their own home. Kraftwerk 3-D The Catalogue is released across a number of formats including: Blu-Ray, Vinyl, CD, DVD and Download
3-D The Catalogue features new recordings of Kraftwerk's 8 classic albums performed / filmed at various locations around the world between 2012-2016 and mixed at the band's own state-of-the-art, Kling Klang Studio, Düsseldorf

Blu-ray + DVD: Card slipcase, containing 6-panel digipak with 1 x 3D Blu-ray (2D compatible) and 1 x 2D DVD, each

*The LP was mastered for vinyl by James Plotkin and is housed in a custom letterpressed jacket printed by Stumptown Printers.

- Nordra has toured/played with artists such as Demdike Stare, Jenny Hval, SUMAC, Yves Tumor, Juliana Huxtable, Sissy Spacek, Nate Young, Deafheaven, Daniel Menche, Sound Cipher, WAND, etc.

Pinprick guitar lines, swaths of ethereal brass, sub-bass thuds, the clatter of distorted percussion, fever dream lullaby melodies - it can be difficult to discern what sounds we're hearing over the course of Nordra's eponymous debut given the strange and unorthodox context of their combination. And while many tech savvy artists have managed to build strange symphonies and texturally curious electronic exercises within the lonely confines of user-friendly software, those in-the-box tactics don't line up with the mission statement of Monika Khot, the mastermind behind Nordra. "The record has a lot to do with the loss of information from analog to digital conversion, which is then in turn paired with static and dynamic though discrepancies."Across the album's four hallucinatory tracks, it becomes abundantly clear that Khot is a musical mastermind, able to navigate multiple stylistic and tonal shifts while nimbly switching between wildly divergent instruments over the course of a single song, all while maintaining a singular cohesive vision.

Recorded over three sessions in New York City on 9 December 1970, 21 January 1971 and 9 March 1971. The Paul Bley Synthesizer Show showcases new songs and tough renditions of previous work. Featuring the songs of Annette Peacock, this collection sets another milestone in the free jazz spectrum and celebrates an innovative and iconic figure. Some funky episodes, with Ra-esque ARP synthesizer moves and moods.

Full colour insert with interviews, liner notes and rare archival photos.

Recorded live on 26 March 1971, at Club B14 in Rotterdam, with Annette Peacock on voice, electric piano and synthesizer, and radical drummer Han Bennink. Improvisie completes the 1971 trilogy of Paul Bley and Annette Peacock's combined experimental synth. works. Together with the reissues of The Bley - Peacock Synthesizer Show release, Revenge: The Bigger The Love, the Greater the Hate, and Annette Peacock & Paul Bley - Dual Unity, Improvisie completes a compelling period for two iconic figures of the free jazz movement, and their pioneering use of moog synthesizers.
Presented with expansive liner notes, interviews, and rare archival photos. Professionally re-mastered.

The fifth and sixth releases in the Aught catalog, remastered and pressed to clear vinyl in deluxe clear packaging. The first in a series of 2xLP reissues to bring the popular cassette series to vinyl.

Remastered by Rashad Becker at D&M, Berlin. Pressed by Gotta Groove, Ohio, USA. Edition of 300.

Dark Entries is proud to release 'Helden Platz', a long out of print 12' maxi single from seminal Italian electronic act Kirlian Camera. Keyboardist/vocalist Angelo Bergamini founded the project in Parma in 1979 and named it after an electronic device that photographs the electromagnetic halo around objects and living beings. By 1980, Angelo had recruited singer Simona Buja, keyboardist Fabrizio Chiari, and bassist Mauro Montacchini. Their demo cassette, 'Dawn', attracted the attention of Italian Records, a popular independent label. Over the next few years the band would release their first mini-LP, 'Kirlian Camera', the full length ' It Doesn't Matter, Now', and the singles 'Communicate,' 'Edges,' and 'Blue Room'. The latter was a significant hit, eventually landing them a deal with Virgin Records.

By 1987 the line up consisted of Angelo Bergamini on all instruments, Charlie Mallozzi on electronic drums and Simona Buja on vocals. Virgin wanted the band to provide another hit single in order to exploit the success of 'Blue Room", refusing to release the band's less commercial material. In 1987 the band went Lark Studio at Carimate Castle, Italy to record with Italo disco producer Oderso Rubini. Thanks to the insistence of Bergamini, the label agreed to release 'Helden Platz', German for 'Heroes' Square,' in 1987. The song features Kirlian Camera's brand of dark wave, marked by haunting melodies, slow moving synth washes, and orchestral strings. The song features the stark, dramatic vocals of Simona Buja, who sings about the 'Blue blood of Winter' in a tale of Germany and Austria during World War II. Included here is the extended 12' mix, the 7" edit, plus the original B-side 'Burial', an instrumental that evokes a funeral procession soundtrack.

All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. It is housed in the original jacket, featuring a photo of a headstone from Zentralfriedhof Cemetery in Vienna. Each copy includes a 2-sided postcard with lyrics and photos of the band.

MAPA is a project of Paul Wirkus and Marcin Dymiter.
Nineteen years after the release of their legendary album "Fudo", MAPA strikes back with some fresh stuff combining punk, jazz, electro-acoustic music and elements of instrumental hip hop.
In 2017 MAPA reduces the avant-garde jazz and punk to pure energy. The new material is characterised by simplicity and a mixture of slightly perceptible sense of humour and musical eloquence.
This minimalistic set-up consisting of a few selected synthesizers allows for a complete portrayal of both musicians' personalities. They perform vital, full of unexpected twists pieces based on simple riffs, always open to interpretation. Economical use of sounds in punk rock, raw minimalism of the street sounds and flexible riffs constitute the formula of the material of Mapa's album "No Automatu".

MAPA is a project of Paul Wirkus and Marcin Dymiter.
Nineteen years after the release of their legendary album "Fudo", MAPA strikes back with some fresh stuff combining punk, jazz, electro-acoustic music and elements of instrumental hip hop.
In 2017 MAPA reduces the avant-garde jazz and punk to pure energy. The new material is characterised by simplicity and a mixture of slightly perceptible sense of humour and musical eloquence.
This minimalistic set-up consisting of a few selected synthesizers allows for a complete portrayal of both musicians' personalities. They perform vital, full of unexpected twists pieces based on simple riffs, always open to interpretation. Economical use of sounds in punk rock, raw minimalism of the street sounds and flexible riffs constitute the formula of the material of Mapa's album "No Automatu".

Special Limited Edition (750 copies) Picture Disc of OMD Live at the Museum of Liverpool. Originally only available via the bands own store a limited number are available for stores

Dazzle Ships live at the Museum of Liverpool Picture Disc - the live recordings of the Dazzle Ships tracks performed at the Museum of Liverpool.

The band release their brand new studio album The Punishment of Luxury' in September

There is a sense of urgency increasingly infecting the human condition, fragmenting our attention span, accelerating our needs and often influencing our motives when making creative decisions. The result is a lack of dynamics, there is no ebb or flow, its 'go' time, all the time. Electronic music is one of the clearest examples of a widening division between great art created in a deeply imaginative vaccum and the soulessly formulaic and branded product that serves the impatient masses. What draws the ESP Institute to Benedikt Frey is his ability to operate on the fringe, outside the constructs artists constantly channel themselves into—his art speaks a pure language that is realized by any means necessary, a process devised solely to articulate his own message, one delivered with patience, never rushed nor dictated by the outside world. Artificial was written and produced over two years, tirelessly sculpted into a sequence abstract pieces that are fiercely independent but accumulate layers of meaning when collaged. It is electronic and rhythm-based, but never reliant on any prescribed instrumentation, arrangement or expecatation. This is our idea of well conceived and executed album; not simply a collection of tracks but a complex narrative that unfolds over peaks and valleys, pulling the listener into emotional corners before leaving a residual impression. Some may describe music very well in words, but there is always something lost in translation—a story only the music itself can tell.

A split release on Nation's sublabel, Kode. Two exclusive tracks from Black Meteoric Star and D'Marc Cantu. These songs will never be released anywhere else. 250 copies only.
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D'Marc Cantu's RDDS is an abstract production where Hip Hop Meets electronix. A rare, unique document of class and sickness.

Black Meteoric Star closes the release with an homage to a legendary NYC neo film...

Endangered Species rallies an unswerving stare-down of a compilation featuring boss-lad Vereker in disguise alongside Skander, Die Kombination and 2NF, all fully committed to the
heaviest stuff in Death Always Follows.
A grim survey of the label so far, Death Always Follows combines select material from four previous releases with five unreleased fouls including some deadly, incognito Vereker gear. It's
worth noting up front that there's very little of what you might call 'noise-techno' inside; rather it's all of a peculiar, sullen and full sunk pallor that resonates with OG west coast nastiness from
The Haters and NON as much as TG or even Whitehosue from our side of the cess pit.
It revolves no less than three numbers from Skander's sorely overlooked Ruins LP, impressing itself in the gravelly mastication of Death Watcher's Shroud, the heart-aching highlight of Barbed Chains, and the Intrigue & Stuff-like ambience of Mend, beside hurts from his Renoir duo with Vereker, namely the eviscerated choral piece Concrete, the muscle-wasting atrophy of Broken Tongue, and eye-wobbling terror of Stigmata.Cologne, Germany's Die Kombination also feature, giving a taste of their Leibermuster [2016] tape in the deliciously depressive atmospheres of Vollkommenheit and the cranky slugger, Territion,whereas Seele reveals a slightly more sensual aspect.
However, the most compelling material comes from 2NF and Ferro Mortem; the former with two tape-buckling demonstrations of caustic power noise, whilst the latter finally relinquishes his ear-worming rhythmic noise bug, New Traumas and the never-before-heard trepanation of Blood Organ. Take a guess at the who's behind those two, and you're probably right... You may also be very wrong, which is why you're reading all this pony.

Powell returns to the fray with New Beta Vol. 1 — seven upfront and disarmingly colourful tracks that harness a renewed energy following the intense period of production behind his densely
packed debut LP, Sport (XL, 2016). Thanks, perhaps, to a looser approach and influx of new ideas and machines, the results find him at his most playfully experimental and nuanced, revealing new aspects to his mongrel sound not heard in previous releases.
New Beta Vol. 1 will remind you of what made Powell's music so exciting in the first place — goofy, unhinged sounds sculpted into hard-to-resist and unpredictable arrangements — but in a brighter
rush of clashing tones and splintering rhythms that reinforce his roots in jungle/DNB, wave and early Belgian techno. The result is something comparable to a puckish take on AFX's mutant
Analords or Actress' discrete circuits.
This first volume (there may or may not be more) is effectively the sound of someone raised on all the raving music that the UK post-2000 and the internet has to offer. But rather than some
millenial emperor's new clothes, New Beta weaves its references obliquely throughout the record.
Whether in the curdled gob of chromatic acid opener Teddy, the clash of tart electro arpeggios and stepper drums of Freezer, or the off-the-cuff electro BEATdown of The Bust, Powell persistently transcends his influences in a way that's key to all his work and always thrilling to hear — proving how to do reverential without being derivative.
Despite the range of material on offer (this is more mini-LP than EP), it's testament to Powell's vision that they still sound like him overall. And if any one track sums up this distance from, and
consistency with, his early work, it's the rare beat-less outing of EP closer Electric Sheep, whose visceral, strobing formation betrays a burnt out and unusually sentimental aspect to an artist best known for all-out hedonism.
Cocking a wink at the upfront sonification and syncretic mutations of late '80s Belgian New Beat in both name and form, New Beta Vol. 1 identifies Powell as a more self-aware and emotional Johnny Bravo for electronic music in 2017, serving to subvert the 'roid-rage trudge of EDM and the prosaic mundanity of grid-locked line-dance music with a daringly screwball, anachronistic approach to making dancers feel strange in the rave.

Whilst on a Balinese surf safari searching for a secret spot where pink dolphins populate the line-up, The Hands would be my guide. I'd been warned he had recently been busted trying to purchase human flesh on the black market. Bombing through the jungle, The Hands hit play and the truck was bathed in Gothic Berlin toilet techno. "Holy shit," said I,'what is this' The Hands said, 'The Hands.' But what else was I to expect from an Austrian/Balinese techno cannibal —DJ Harvey

Seekersinternational sends dub into another dimension, a place where the laws of physics appear irrelevant. Formerly solid structures are made improbable and surreal, songs become dizzying, recursive mazes. But for all this weirdness, the Canadian producer has generally hung onto dub's loved-up feel. This cassette is different.

Appearing on Japan's Diskotopia, the RaggaPreservationSociety EP traces dub's sonics as they developed into ragga jungle. The manic style is sunk deep in the dance music consciousness. Hearing it get a cubist makeover is a bit like having familiar memories smashed up and reassembled as crazy paving: in other words, disorientating. Crowds of sampled ragga chatter vie for attention, repitched chords and cartoonish basslines hint at two (or more) different keys, and breakbeats and delay trails meet in gruesome pileups. Structures are fragmented and, thanks to the release's mixtape sequencing, it can be hard to tell what is "track" and what is "transition." Most are probably a bit of both.

The chaos is glorious, but the EP is made extra special by the moments when unexpected order emerges. Somehow, several of these tracks are, well, catchy. The best come in a run on the A-side: "SoundDedication"'s sliced piano chords and delirious chipmunk coos, into "DanceGwaan(EazeUp!)," whose skittish breakbeat is cut with tender synth chords, and then "NoCompetition"'s quiet storm sweetness, aided by twinkling Rhodes and a female vocal. On the flipside, "ChannelTwo(MurderousDub)" is just as good. A sliced vocal and bassline form an improbably singable hook, before tumbling into a big old sentimental piano breakdown. Or perhaps the word "breakdown" is redundant on this marvellously broken release.

Early Halcyon staple, and recent LA transplant, Ezekiel Honig's new limited-edition LP is a breathtaking collection of ambient and downtempo electronic pieces. Melancholic yet warm, Honig layers field recordings from around NYC that are bolstered by softly nuanced instrumentation and woozy beats.

Lvis Mejía's third release is a self curated selection' of his renewed old recordings.
Lostoys is the result of a well-polished archive looking through the glass of composed atemporality.
Perceiving it as a full circled voyage wandering through jazzy hues, adventurous electronica, analog warmth and edgy digital synthesis, Lostoys represents his most ludic material released, so far.

1st solo album in 5 years, recorded, produced and written by Richard H. Kirk, founding member of Cabaret Voltaire, the album was constructed at Western Works, Sheffield, over a three-year period. Work began with recording on midi and analogue synthesisers before guitar and vocals (Kirk's first use of vocals in 10 years) were added. Kirk explains, A lot of time was spent on post-production, editing and then living with the material and I think it benefited from stepping back and then revisiting after doing other things.'
Although not an overtly political album, it's hard not to hear a reaction to recent years' world events in the overwhelming urgency of 'Nuclear Cloud' or '20 Block Lockdown' or in 'New Lucifer / The Truth Is Bad'. When questioned Kirk admits, It's not really a political album, but over recent years - during the recording - all manner of horrorshow events have cropped up and now we seem to be in a rerun of the Cold War with Russia back as the Bogeyman.' The album's title, Dasein (a German word meaning being there' or presence', often translated into English as existence'), is a fundamental concept in existentialism. Kirk explains culture succumbs to nostalgia in much the same way that an individual looks back wistfully to adolescence or childhood - the nostalgia is partly for a time when he or she wasn't nostalgic, just lived purely IN THE NOW.' In 2014, during the recording period, Kirk began work on Cabaret Voltaire live and so the two projects coexisted in tandem. Although Kirk's varied projects have always existed separate to one another, says Kirk, in the past some solo works served as a blueprint for what I did later with Cabaret Voltaire'. Billed as a performance consisting solely of machines, multi-screen projections and Richard H. Kirk, Cabaret Voltaire recently announced the first UK performance in over 20 years at the Devil's Arse Cave (aka Peak Cavern) in Castleton, Derbyshire on Saturday 29 April. Kirk will perform entirely new material for a performance relevant to the 21st Century with no nostalgia. RECENT PRAISE FOR RICHARD H. KIRK One of the UK's pioneering electronic agitators' - Electronic Sound In five decades of key-bashing and knob-twisting, Richard H. Kirk has remained at the vanguard of electronic music' - FACT ...decades of electronic innovation, forged in Sheffield' - Uncut
Kirk was toying with distorted realities from 1970s onwards' - Record Collector

DDD Records is a label and a store based in Paris.
Un Drame Musical Instantané is a collective of French composers led by Jean-Jacques Birgé. In 1984, they composed their own score to Dziga Vertov's groundbreaking 1929 film The Man With A Movie Camera.

This release features original 1984 copies of L'Homme A La Camera, as well as more recent material. In 2017, several producers were approached by DDD records to create new tracks or remixes using this rich and unusual recording as source material.

A1. Jorge Velez - Coquillage
The EP opens with Coquillage by US producer Jorge Velez. The word means sea shell in French, and this track is like putting one to your ear. Definitely on the more ambient side of things, Coquillage is full of eerie sounds, from the sea to marine wildlife and other unidentified sources which all create an unsettling atmosphere. Ever shifting and phasing, differently textured pads create a sense of wide open space and spiralling free fall through it.

A2. Un Drame Musical Instantané - L'Homme À La Caméra (Tuff Sherm remix)
Australian producer Tuff Sherm aka Dro Carey delivers a remix which plods along at 112 BPM with an infectious rhythm section thanks to terrific drum programming. Add a bunch of short samples, from metallic sounds to flute licks and many other instruments used in the original UDMI recording and the result is a stripped down remix that nonetheless remains full of surprises.

B1. Un Drame Musical Instantané - L'Homme À La Caméra (Eltron John remix)
Polish producer Eltron John's remix increases the BPM slightly. With the combination of flawless drum machine sequencing and a mellow bassline with a variety of UDMI samples, this is a tune where brass instruments, tubular instruments, lush pads, and other incidental sounds are used to great effect. There's an undoubtedly positive, uplifting vibe in this track which successfully uses UDMI's sounds in a house music context.

B2. Thurston Moore - 7-11
Closing the EP is this distinctive remix by Thurston Moore of Sonic Youth fame. You think you're in a for a purely musique concrète trip as the song begins with prepared piano, beeps and heavily treated noise. That's until an infectious drum loop evocative of music played in warehouses rather than concert halls appears. Said loop is cleverly treated and gets noisier and noisier as the track progresses. The contrast between the track's more experimental approach and the immediate pleasure procured by the drums makes it quite unforgettable.

REPRESSED !!
Air Cushion Finish's distinctive sound palette reconciles pop music with experimental electronics, think Alan Bishop meets White Noise (with a touch of Super Collider) ...
Air Cushion Finish formed in Berlin in 2007 and comprises of composer jayrope and natural vocal synthesizer Lippstueck, who have graced Berlin's underground scene together since the 1990's. Lippstueck sings, wordless and backwards in time while his partner jayrope tends DIY, electronic, string or percussion instruments small enough to fit into a small suitcase. Changing setup and subsequently music is programmatic to the band, resulting into an unforeseeable slow motion cacophony of whispers, bleeps, rhythms and harmonies. There's a notion of Dada, but you never know.The 8th studio album of ACF marks their current state of poetical accident, swaying, swinging and bouncing, boldly careful, like a transparent tattoo on your forehead.

Andrew Hargreaves (The Boats, Tape Loop Orchestra) presents his striking first works for dance with Pose Plastique; the unrequited, roiling musique concrète score to choreography by Belgian dancer Anaïs Ureel.
Pose Plastique marks bends and loops in time as the first release under Andrew's government name since 2010's Avant Garde for ONO, following a period of belligerent industrial rhythms and abstracted electronics with a much more refined sense of biokinetic movement captured within stark, echoic space.
Pushing himself beyond usual comfort zones, and using a kinetograph score of movements which was effectively illegible to Andrew, the results of Pose Plastique reveal a keen sensitivity towards supple and super spacious sound design, eschewing any sort of 'incessant pounding', as he initially feared he was supposed to, in favour of a series of diffused rhythmic triggers and physical gestures that mirror elements of Ostgut Ton's Masse works for dance as much as Jeff Mills' most abstract techno navigations and the plonging, weightless meters of Bernard Parmegiani's seminal GRM works.
As these things go, the commission never fully manifested. Anaïs ended up disenchanted by dance (not due to Andrew's music, we might add!) and eventually moved to New Zealand. Fast forward a few years and Andrew made the decision to edit the recordings for this 31 minute release, simultaneously offering encrypted instructions for movement to any willing bodies, while its free-floating sequence of rhythmic and tonal structures act as a hugely absorbing listen in their own right.
It's perhaps testament to Andrew's gifted, mutable compositional skills and musical vision that Pose Plastique works in its own right. By his own admission, Andrew's not really a dancer, but but he's clearly attuned to what makes abstract dance music tick, and to the integral connection between living bodies and machines,
and the way they've become conditioned by electronics ever since the explosion of avant-garde electronic music in the '60s, to the impulses of disco and new wave, and its contemporary application.