Beats News

Eschewing the routine trappings of "tunes" and "melodies" in favour of drone and a strong cinematic sensibility, Jazzfinger bring to you their own unique brand of visual and aural exorcism. They start noisily. They incessantly build layers of white noise onto of layers of unwieldy dissonance. They recreate an auditory Armageddon with amps. They end noisily. They also unleashed 600 live crickets onto the audience at a gig once.

They have dozens and dozens of LPs, tapes, CDRs and lathe cuts out on a multitude of DIY labels, and they've finally released a 100-only double-A side - Beachy Head / Moroccan Car Park (D. Harwood remix) on the Distraction label. Ladies and gentlemen: Jazzfinger.

Recorded by Hasan Gaylani and Ben Jones.

'Beachy Head' remixed by D. Harwood.

Artwork by Thee Ruiner.

Packaging screenprinted and assembled by Tyrant, Design and Print.

collecting orders for repress

Staying true to it's half decade strong objective of documenting next generation, cutting edge sound system music from the City of Bristol, Punch Drunk is proud to introduce newcomers Zhou for it's final chapter of 2011.As part of the Young Echo collective, alongside peers such as Kahn, Vessel and El Kid, they have forged a unique identity within the city limits as producers, collaborators and live performers.Defining their sonic vision of submerged aesthetics and low end pressure, tracks 'I Remain' and 'Noboru' comprise the duo's debut 12', delivering a tense and intoxicating odyssey into their chamber of dub.

Hazel is the 5th record from this group of eclectic travelers, who bring their considerable pedigrees together in unexpected and original ways. Looking at the people involved, it would be reasonable to expect a massive blowout of sound, but everyone plays with remarkable and effective restraint. The music is atmospheric and layered, with bits and pieces of identifiable rock moves peeking out from under a thick blanket of hard-to-identify drift.

Based on live recordings made on a lengthy tour of Italy in 2010, the recordings have been extensively edited and supplemented, but without losing the elemental sound of a group playing live together. While there's plenty of weird ambient sound to be heard, this isn't a sound-effects/'pedalboard' record. Like the preceding 'En Form for Bla' album, Noble's drums anchor the music. The drumming is spare and considered, sometimes lashing out with abstract punctuation, and other times laying out a Can-like groove. O'Malley's guitar is also restrained, providing a bed for O'Sullivan's constantly morphing Rhodes, synths and electronic effects. Kristoffer Rygg contributes a rousing vocal incantation to 'Ermanna' and peppers the mix with ghostly modular details. Like their other records, this is not really like anything else out there right now. Sleeve designed by Stephen O'Malley.

CD is in card folio printed by Stumptown Printers. LP is in Stoughton Tip-On Jacket, pressed at RTI, and includes download card.

'Preparations' is the first record to be released on Tri Angle by Fis. Based in Wellington, New Zealand, Fis has steadily been building a name for himself on the underground as a producer to keep an eye on.

Having already put out a number of very limited edition and very well received releases through a handful of drum & bass oriented labels, 'Preparations' finds Fis at a point in his musicmaking career where he's ready to be introduced to a wider audience and confirm why websites like Resident Advisor have said things like: 'A producer that has suddenly appeared, rather fully-formed, doing something completely individual, sounding like absolutely no one else.'

It's difficult to explain exactly what Fis sounds like. Drawing upon a rich history of New Zealand customs and periods of heavy meditation for inspiration, Fis' tracks have the ability to completely disorientate and absorb the listener, creating rhythms that constantly seem to be cannibalizing one another.

'Preparations' feels forward thinking in the extreme and yet entirely elemental and strangely ancient.

Lichter is the first piece in a new series of electroacoustic dub compositions by Mouse on Mars. It is a massive, lurching, up-tempo percussive epic - a long-haul runaway train that keeps switching tracks without ever losing sight of its destination. Like much of Mouse on Mars' output, Lichter deftly traverses a varied sonic landscape, encompassing elements of jazz, dub, krautrock juke and psychedelia.

Lichter incorporates trigger robots built by Sonic Robots' Moritz Simon Geist and features Andi Toma & Jan St. Werner's long time collaborator Dodo NKishi on percussion. The basic layers were produced with a feedback software called smrph, and were edited, arranged and used as a foundation for various live and studio improvisations. The 13min track, Lichter, is a concentration of these various layers. Lichter is also a highly visual piece, and performed live it employs a bespoke network of light-bulbs triggered by data derived from the sounds and pulses of the composition.

Andi Toma and Jan St. Werner have been recording and playing live as Mouse on Mars since 1993, and have released over a dozen albums. In 2014 the duo celebrated their 21st birthday with a curated festival at Berlin's HAU theatres, and an accompanying compilation which showcased the band's numerous collaborations.

The video for Lichter was created by Paul McDevitt and Jamie Lemoine.

REPRESSED !!

Heated Heads delves into another dark corner of the American experiment, this time via the Lone Star state.

Graig Clouse's Shit & Shine project has been a mainstay of the underground for well over a decade, having released unique sides for legendary labels like Rhode Island's Load, Riot Season, Gangsigns, Powell's Diagonal imprint, Rocket Recordings, Conspiracy outta Belgium and the inimitable Editions Mego, to name but a few.

Pure, side long Outer-Space-Electronica (partitions for pre-listening purpose only)

LuckyMe präsentiert die Debüt-EP des Produzenten Inkke, der wie Hudson Mohawke, Rustie oder S-Type der vitalen Glasgower Electronic-Szene entstammt und bereits mit Skepta, Novelist und D-Double E gearbeitet hat. 6 Heavyweight-Dancefloor-Tracks, auf denen Future-Grime-Rhythmen auf Memphis-Rap-Referenzen und hymnischen Sound treffen.

Whoompf. Another knockout record from Latency.
Five grippingly widescreen, warmly immersive, dubwise soundscapes — propulsively roiling, droning and ticking, smudging the limits of their own coherence.
'I'd been thinking a lot about this idea of skewed club tracks that constantly shift in and out of time like they're on the precipice of dissolving or collapse,' says the producer, from Melbourne. 'Straining against whatever holds them together but maintaining that tension. Tarkovsky calls it 'space frozen in a dynamic equilibrium'. I'd also been listening to a lot of Steve Reich, Monoton and Arthur Russell, particularly how their work can induce this meditative trance-like state through drifting repetition in rhythm and melody.' Another lovely, inkily silk-screened cover, too — freshly evacuated, awed, anxious — like a still from Force Majeure.

repressed !

For this inaugural release the french label BFDM introduces two young promising producers aka The Pilotwings. Agorespace is an excursion, a trip where dark and killer drums meet with some soft melodies and primitive percussion.

Trance Beats is a wonky house track made up of hip-hop/jungle breaks and synthetic animal sounds, a powerful combination of tribal rhythm and creepy synths. On the same side comes Cavernes Magiques, a modern electronic tune where raw 707 jams gives way to Trippy dance pads, 90's influences. On the other side a strong techno track contrasted with bright synths called Cours-la-Ville, a dark and long exploration.

The word 'Aven' refers to an underground shaft that leads upward from the roof of a cave passage.

Recorded with SoundField SPS200 & JrF C-Series contact microphones, Sennheiser ME64, Sound Devices 788T, Elektron Monomachine, RME Fireface UCX, and Cockos Reaper. Field recordings from Iceland, June 2015 and South Africa, November 2015.

Strings performed by Bethan Kellough.

Bethan Kellough creates sound worlds that weave together instrumental materials, sound design and ambisonic field recordings. Her composition 'Aven' is based on a recording made in Iceland in 2015, which features the booming sound of underground geothermal activity escaping to the surface through a small shaft. "Looking down into the darkness, there was a sense that a whole world existed in an unknown space beneath. The sound world of Aven is a journey through such an imagined environment." The composition is driven by this sonic encounter, but enters the imagined worlds beneath through the instrumental material developed throughout the work. These melodic passages predominantly feature violin, which Bethan has played since childhood exploring traditional Scottish music, rock violin, free improvisation and classical studies. The field recordings used in Aven were made in Iceland during the Wildeye sound recording workshop with Chris Watson and Jez riley French, and in South Africa during the Sonic Mmabolela residency with Francisco Lopez and James Webb. Each of the recordings explore a world of sound beneath a surface, reflecting upon the initial recording environment at the geothermal site. In South Africa, an approaching storm was heralded by wind blowing through bushes in the savanna, underneath which was hidden a Soundfield microphone. A contact microphone on a fence in South Iceland revealed the tones of the wind contained inside the wires, and in an Icelandic nature reserve the wind was also captured by microphones buried underneath a layer of grass - a miniature world sheltered by the strands of dry straw.

Bethan Kellough (formerly Bethan Parkes) is a sound artist and composer. Her work spans across ambisonic composition, field recording, sound design and multichannel sound installation practices, drawing a focus on sonic spatial experience. Her works are designed to open out spaces with sound, exploring spatial aesthetics and the interactions between sonically and visually articulated spaces. The immersive sound-worlds she creates inhabit the boundaries between music and sound design, weaving together instrumental materials, sound design and ambisonic field recordings.

She holds a PhD in Sonic Arts from the University of Glasgow. In 2015 she joined the Touch Mentorship Programme.

Her works have been exhibited and performed internationally, including at Touch Conference, Los Angeles, USA, Gallery of Russian Art and Design, London, UK, Resonant Forms Festival, Los Angeles, USA, Borealis Festival, Bergen, Norway, Jardins Efemeros Festival, Viseu, Portugal, Spazio Bocciofila, Venice, Italy, The Global Composition International Conference, Dieburg, Germany, Symposium on Acoustic Ecology, University of Kent, UK, Sound Thought Festival, Glasgow, UK.

* A staple of Bristol's thriving hardware electronics scene, Dylan Mallett is the sole force behind the exhilarating sonic currents of Silver Waves. Tightly orchestrated symphonic noise is paired with bludgeoning splinter rhythms and fractious melodies to create brutal electronic epics, which leave senses nourished and obliterated in equal part.

* Having been making music in various forms over the past five years, Mallett first unscrewed the jar on the tenebrous brew of noise he'd been fermenting in his attic with a pair of tape EPs released through Howling Owl Records affiliated art collective, bulb, landing him show stealing support slots for the likes of Pharmakon and Powell, as well as a recent airwave shattering live performance on NTS Radio. EP3 is Silver Waves' high-water mark to date on which Dylan evokes complete junglist dysmorphia; a bruised and feedback-damaged take on amen break abandon that pounds like early Wolf Eyes, betraying the kind of ear for detail that an HD soundsystem will no doubt reward. Keeping it local, EP3 garners remixes from two of Silver Waves Bristol-based contemporaries; shapeshifting noisetechno duo Giant Swan, plus recent Blackest Ever Black signee and Young Echo's resident master of pitch-black dub, Ossia.

* A co-release between Berlin's most enticing new dark-electronic label Portals Editions and Bristol's now-well established noise loving provocateurs Howling Owl Records, EP3 commits Silver Waves to 12' for the first time, with tracks so far making appearances on Roly Porter's FACT Magazine mix and Orphan Swords' mixes for Abyssal and NTS Radio prior to their release. The tide is rising.

Since 1987, Frak have been everyone's favourite, premier Swedish synthesizer-touching weirdos. Even if most people hadn't heard of them until 4 years ago. And yet, world of Frak is as long as it is wide. As blue as it is black. As ominous as it is glorious. As dirty as it is hairdryer. Sweet it is as yellow paper As.
All of the above is a perfect example of how trying to convey what Frak is in the crass form of words is ultimately fruitless.
Here is a double 12" vinyl product from Ultimate Hits featuring eight audio recordings from Frak: three men who have known each other since at least 1987. The sleeve was lovingly hand screen-printed at the studio of House of Traps, and features the colours commonly known as pink and black.

Cosmic Visions Of A Latin American Earth - Venezuelan Experimental Rock in the 1970s Soul Jazz Records' new Venezuela 70 is the first-ever album of its kind to take a look at the groundbreaking experimental rock music made in Venezuela and created in the 1970s - during a time when the country was both a modern cultural and economic powerhouse in Latin America on account of wealth from its vast oil supplies. Venezuela lies at the northern part of South America, with neighbouring Colombia to its west and Brazil to its south. The north coast borders the Caribbean. Whilst much of 1960s Venezuelan rock music emulated British and USA styles, the 1970s saw the evolution of a new generation of creative artists such as Vytas Brenner, Angel Rada, Pablo Schneider and Miguel Angel Fuster, who all explored the possibilities of mixing together rock with elements of electronica, funk, jazz, latin rhythms simultaneously exploring their links with Venezuelan roots music, creating a new sound which blended a multitude of new and old world influences, uniquely Venezuelan.
These Venezuelan artists looked to the future while exploring their country's own musical heritage to create a new cultural identity. Similarities can be drawn with then contemporary movements around the world such as the Trópicalia and post-Trópicalia 1970s scene in Brazil of Os Mutantes, Novos Baianos, Secos e Molhados (all of which feature on Soul Jazz Records' earlier Brazil 70). 
A similar parallel can be made in Europe with the experimental German groups of the 1970s (Can, Amon Duul, Harmonia, Neu all featured on Soul Jazz Records' Deutsche Elektronische Musik) who deconstructed and reconstructed the links between rock music and electronics to define a new German cultural identity.
Most of these artists featured on Venezuela 70 remain practically unknown outside of Venezuela's borders and yet their progressive forward-thinking music is some of the most sophisticated in the world - a stunning 'melting pot' mix of underground rock, synthetic electronics, funk, jazz and Latin American rhythms all of which explored new sounds and broke down musical boundaries to create a distinct and unique Venezuelan music and cultural identity.

2016 EP from Black Spirituals. Combines material from studio and live recordings, including a track from Seattle sessions with producer Randall Dunn (Earth, Sunno))), etc.). Originally a tour only release, now available for wider circulation. A preview for the forthcoming full length due later this year on SIGE. 'Two of the brightest musical minds of today - Marshall Trammell and Zachary James Watkins bring their skills and passion to Black Spirituals. Get this recording right away!' - Pauline Oliveros

Death Grips ist eine amerikanische Hip-Hop Gruppe , die im Jahr 2010 gegründet wurde. Zur Band gehören der Rapper MC Ride, derSchlagerzeuger Zach Hill und der Produzent Andy Morin. Die Musik von Death Grips wird von Kritikern oft dem experimentellen Hip-Hop zugerechnet.

Some believe that the environment in which you make music - from the studio space, to the location itself - has a profound effect on the creative process. Immerse yourself in the world around you, the theory goes, and it will shape the music you make. Listen to Gorthleck, the third album from veteran downtempo alchemists Benjamin Smith and Paul 'Mudd' Murphy, and you can almost visualize the craggy, windswept and breathtakingly beautiful environment in which it was made. Reconvening after a near seven-year hiatus last summer, the duo headed up to the Scottish Highlands to spend a week recording in the surrounds of Gorthleck House, nestled on the shore of Loch Mhor in Inverness-shire. Earlier this year, they returned to the same venue, with its' stunning views of the tranquil loch and rocky, wooded hills rising in the distance, to complete the nine-track set. Certainly, the immersive environment and famously changeable weather seems to have inspired the longtime friends and studio partners. The album's epic centrepiece, the nine-minute Mhor', sounds like an emotional love letter to the body of water they strolled alongside every day. Its' undulating synthesizer line - reminiscent of classic Tangerine Dream and the Orb's A Huge Ever Growing Pulsating Brain' - mimics the slow ebb and flow of water across the loch, while Smith's shimmering guitar lines mimic the glint of sunlight reflecting off the surface. Elsewhere, the audio references are a little more subtle, but no less relevant. The hazy jazz guitars, twinkling pianos, rich grooves and fluttering clarinets of Nether' sound like the perfect accompaniment to a single malt whisky-fuelled sunset session at the water's edge, while the quietly foreboding aural textures, layered guitars and urgent electric violin of Enos' evoke memories of watching storm clouds gathering behind distant Highland mountains. The same could be said of Mr Coats' - a track arranged in steamy Mexico, and blessed with all the humidity you'd expect from such an excursion - while you can hear gale force winds whistling around the rafters on Dogwood'. As for Errogie', it's as bracing as a crystal clear morning in the Highlands, chilly, but hugely life affirming. The duo's previous two albums, 2007's Blue River and its' 2009 follow-up, Le Suivant, were both hugely evocative, but neither captured a distinct a sense of time and place quite like Gorthleck. Listen carefully, and you could almost be there with them, watching the sunrise and sunset.

Alex Suarez is part of a new breed of producers based out of Brooklyn carving out their own unique sound experimenting in the world of raw primordial electronics. Under the name Cienfuegos, he has prior releases on Brooklyn's Primitive Languages imprint as well as the France's Unknown Precept label-with his new "Lost in God's Country" ep we see him debut on the New York centered Bank Records.

Through the four tracks Cienfuegos harkens back to the time of early industrial music, not far off from the early transmissions of SPK or even hinting at sounds akin to E.g. Oblique Graph. Suarez has a knack for developing textures and tension in his music sewing it all together with plodding rhythms and the occasional creeper vocal. Heavyweight stuff coming most highly recommended.

12th release on the label by Moscow based musicians Vasiliy Stepanov and Vladislav Dobrovolski. All tracks imbued with esoteric trippy vibes for all "another dimension" lovers.

*Tapesongs is the second of two crucial Joan La Barbara reissues on Arc Light Editions, following Voice Is The Original Instrument (ALE005). The original artwork is an incredible shot: Joan buried to her neck in reel to reel tape. It includes two essential pieces: John Cage's Solo For Voice 45, and a burning take-down of Cathy Berberian in Cathing'.

* Originally released in 1977, Tapesongs makes use of early electronics, and multi-tracked tape techniques to manipulate La Barbara's signature extended vocal techniques. In 1977, La Barbara was living in NYC, playing concerts internationally and performing regularly with John Cage, who she described as a mentor. I began working with John Cage in 1976 and we had done several performances of his "Solo for Voice 45" from Song Books in concert,' says Joan. Cage determined the 13-minute version for this version, overlaying all 18-pages of the score so that one hears the entire work in layers. Hearing it again after all these years is wonderful and brings back many memories.'

* Cathing' uses a recording of a radio interview Cathy Berberian did during the intermission of one of La Barbara's concerts at the Holland Festival: She basically trashed those of us doing extended vocal techniques,' she says. She used the interview for her own self-promotion rather than taking on the mantle of the 'mother' of vocal explorations. Rather tragic, I thought. So I created a work exploring extended vocal techniques and manipulating her spoken voice.'

* Thunder' is for six tympani and voice, using electronic devices (the same as used in Vocal Extensions' from ALE005), and explores patterns through instruments and real-time composition with two jazz improvising musicians.
d real-time composition with two jazz improvising musicians.

"Step forward André Abel and Joana da Conceição, the Portuguese duo behind the long-running experimental act Tropa Macaca who had a brush with the alt-mainstream a few years ago in the shape of the Ectoplasma single for Daniel Lopatin's Software label. Seemingly absent since their 2013 LP, Praga De Urubu Só Pega Em Cavalo Magro, Abel and da Conceição have been coaxed into appearing on The Trilogy Tapes. Given the tone of Vida, it should come as no surprise that Tropa Macaca are also set to perform at the upcoming Meakusma festival"

Packaged in special 'Vulnicura' wound die-cut sleeves.
A very special live version of Björk's highlyacclaimed, Grammy Award nominated, eighth studio album, 'Vulnicura'.
Following the success of 'Vulnicura', Björk was honoured with the award for 'Best International Female' at the Brits. This was Björk's firth Brit award.
'Vulnicura Live' is made up of Björk's favourite performances from her 2015 tour, including all songs on from the original release plus some carefully selected favourites from previous works.
The songs were performed live with the Alarm Will Sound & Heritage Orchestras, and critically acclaimed producers The Haxan Cloak and Arca.
The artwork was designed by the iconic design partnership M/M Paris.

The flawed wonders that Yair Elazar Glotman puts forth on his latest opus I Know No Weekend are the coldest dreams you would ever wish to immerse yourself in. They recall echoes of echoes, forced into slowly struggling shapes, ghosts of memories, whispers of life from another dimension. Shamanic-repetitive beats shift slowly beneath echoing bells and fragments of past transmissions. Overwhelmingly, one is taken into upon a winding mental path, with no clear resolution in sight, although the journey is ever-evolving and new.

The listener perceives a great mechanism at the edges of this mass of sound, a machinery of blackened iron that grinds ceaselessly, opening vast spaces to the ear. Howling winds caress the nerves like ground glass, opening up the long limits of the Void. These are the siining harmonics of entropy

* A lover's memory. Centuries of thought dissolved into unusual dimensions, creating a new language woven from the fragment of a mad entity. Amorphous at first, it evolves to become as piercing as glass. caught in a patient

U has always displayed an unironic conformity to his own absolutely genuine / occasionally challenging ideal as to what a release should entail. After a series of predominantly, and (in the most loving sense) maybe begrudgingly, dance floor oriented EPs, 'Vienna Orchestra' is a long overdue insight into his core fascination as a musician, making complex and intriguing experimental pieces that belie the humble mode of their creation - recording from vinyl records and manipulating the audio on old school samplers. This LP is an insight into scores of hours of twiddling with loops and sequences to create music far removed from its source material (dusty classical records acquired on a trip to Vienna). This is a dense, blunted world, which holds the sound of a musician indulging their own ear's obsessions and insatiable curiosity.

The record's opening is reminiscent of Walter Schumann's 'Night of the Hunter' soundtrack in its deeply unsettling, creeping feel. The droning high strings in the background prick your ears while, in the foreground, oddly syncopated staccato stabs provide the loping, lurching feel. You could be forgiven for momentarily comparing this to some kind of oddball, Deep Puddle Dynamics-esque excursion... but then the fun begins. Throughout the record, the most consistently striking element is U's masterful ability to, with the use of relatively simple EQs, filters and basic effects, turn familiar and fairly orthodox sounds into futuristic and daring electronic experimentalism. Forceful strings become ethereal and strange in their timbre, long, drawn-out notes are oscillated to create warped riffs or motifs and the imperfections of the physical format are treated as an essential aspect of the soundscapes he creates (more on this later). His isolation of contemporary rhythms in the source material displays an impeccable musical ear. Moments of the album sound like beatless grime or techno - not in a YO kidz, Shakespeare was the original rapper!' kind of way - but in the startling, often illuminating fashion they summon connections between styles of the past and present. It's also fascinating and joyful to hear, in this context, the early rave producers' technique of pitching one chord or note across several pads / keys to create increments of the scale that shouldn't really exist. No doubt this would discombobulate a classical purist to the point of distraction but it is a constant delight to hear this fairly un-musical production technique applied within a tuneful, meticulous and unfamiliar paradigm.

There is wonderful conflict within this LP's running time as well. On 'Resurrexit' a sudden refrain of vaguely Reich-ian optimism - a loop that bears echoes of that somewhat wide-eyed brand of 21st century American minimalist composition - is suddenly quashed by a cataclysmic stab that sounds like the cannons-and-all climax of the 1812 overture repeated with alarming, gleeful insistency. The closing track has a nightmarish quality reminiscent of Can's 'Aumgn', where the listener is truly set adrift on the choppy tides of a perhaps inscrutable musical vision, leaving one clinging to reference points where possible, but without the comfort of orienting landmarks you must simply submit to the experience and land where it may take you. These stretches are few and far between though - for the most part 'Vienna Orchestra' is a focused and concise release, restlessly flitting between cohesive vignettes. Some of the tracks sound simply like beautiful, vocal-less songs and offer themselves in nakedly tender opposition to the less easy-going moments. One may find, in places, the securing anchor of the sound can be the reverberating record crackles. This familiar tone is beautifully employed, reminding you of the physical process of the recordings, creating a vivid aural landscape around the music and frequently comforting the ear, creating a feeling akin to settling into a comfortable position and really listening intently to some interesting weather. U would surely be pleased to have his work viewed in such elemental terms - like the cacophony of nature and the mysterious celestial tones of the stars.

"Charlie Janiaut opens up a third way between physical energy and experiments on sound textures. The producer originally from Franche Comté has dusted his fingers on battle scratch and his playing with computer is totally instinct driven. Playing techno from the viewpoint of rap music, qoso's music is entirely based on samples and feeds on mistakes, frequency translation and a piling up of effects leaving space to randomness. The tracks on Printemps Ete were composed all at once and speak more to the body than the head - they're rhythm tracks as stated by Emotional, which opens the record where most electronic albums like to put a nice ambient track."

Vinyl 7" edition of 150 housed in uv printed sleeve.

The album is the result of a double consideration travelling on a parallel path.

On one hand the sensation evoked by dissonant organic sounds merged into patterns and chaotic structures,on the other hand its connection with the exploration of the concept of propaganda, with its adaptive and unstable nature, its relationship with the concept of privacy and its application in everyday life in the digital era.

The two tracks, non sono un criminale and non ho niente da nascondere, are composed by a loop structure in order to emphasise the sensation of anxiety and confusion, the melodic changes are introduced by the use of pronounced reverberations, especially in non sono un criminale.

Dosh & Ghostband soundtrack the most indescribable dance party you've ever attended. The sort of phenomena where your friend asks the next day what the music sounded like, and you vainly search a thousand different adjectives before discovering that none seem accurate. All that matters was that you had one of the best times of your life and never stopped moving.
Things have gotten easier for us. We live in a world where you can now just play Def Kith II:The Price is Ill o answer the equation. After all, if you traveled back two decades and asked DJs to predict the future of sound, the guesses would probably come out something like this four song, 38-minute odyssey, released on Anticon.
There are the sleek glides of Krautrock, the chromatic grit of Detroit techno, the liquid freedom of improvised jazz, the loop-digging hypnosis of raw boom-bap, the cerebral float of IDM, and the fusion shock of the new. Minneapolis multi-instrumentalist producers Martin Dosh and Jon 'Ghostband' Davis have forged a rumbling and burrowing, lightless and electrified, claustrophobic and wide-open, metallic and shimmering saga. A mess of contradictions that always becomes clear around the next musical curve.
It's sculpted for crumbling warehouses outfitted with blistering subwoofers and headphone treks through the city at night. The four songs—'Produce Section,' 'Shish Kebob,' 'Chopping Spree,' and 'Kool-Aid'—comprise their own gestalt. Removing one is like chopping off a leg. These are electronic loops with subtle flourishes, built on movement and variation, long forms and intervals - a collection of small moments that build to delirious conclusions.
Both producers have built revered solo catalogues over the last decade, but this formation yields something entirely new. The ideas and influences of the long-time collaborators are chopped and synthesized, merging Herbie Hancock and Caribou, Squarepusher and Wu-Tang, The Meters and Medeski, Martin & Wood. The result is weird dance music that never fails to live up to its initial reason for being: you are supposed to dance to it; you have to dance to it.
Dosh and Davis have wrought something immediate and raw. It was knocked out in four days and mirrors the sort of sleepless euphoria that such a creative process renders. It feels intuitive and loose. It's heady without being cold. It's anchored by the four to the floor but has a crafty intelligence to the design. Consider it dance music that overachieves rather than IDM that fails. It'sDef Kith II, a synthesis of visceral grooves and the unknown.

Zweites Album des mexikanischen Produzenten Cesar Urbina aka CubenX, dessen minimalistische und bittersüsse Electronica Künstlerkollegen von Agoria bis Michael Meyer begeistert. "Elegiac" enthält 11 neue Tracks mit Gastvokalisten wie Cyane aus Mexiko, Yasmin Hamdan aus dem Libanon und Born In Flamez aus Berlin. Das 180g Doppelvinyl enthält 3 zusätzliche Bonustracks einer digitalen Vorab-EP, die hier erstmals auf Tonträger erscheinen.

REPRESSED !!

Presenting Cuckoo Live Life Like Cuckoo, the eighth album from the London/Somerset eight-piece, Hey Colossus. Now in their 10th year, the band have been gathering plaudits and accumulating new fans with every release, and after playing to thousands at Supersonic Festival, things are accelerating at an even faster pace. As with each album release, Hey Colossus continue to mutate and for their eighth album they have enlisted the support of a new drummer, Part Chimp guitar/vox man, Tim Cedar, who has undoubtedly brought a whole new kind of energy that has reinvigorated the band. When the rhythm section takes a shot to the bow it's only natural for the game to change. But long-term supporters need not worry, they're still heavy, still got the same vibe, only now they are focused in a fresh way. Cuckoo Live Life Like Cuckoo was recorded live to tape throughout 2012 in Dropout Studios, South London, by Mr. Westminster Brown, mastered by James Plotkin. For this recording, Hey Colossus opt for a hefty hi-fi sound when previously they were drenched in lo-fi fuzz. Now there is room to breathe, when before they were utterly unrelenting. Tape loops and walls of noise created by bass and drum, rhythmic klang, dual vocals, and three guitars are supplemented by a variety of instruments including the baglama saz, turntables and synths -- adding a whole new dynamic to their sound. These are signs of a band who are playing with their ears open and it's all systems go.

The second of May's brace of new Polytechnic Youth 45s represents a visit to some previously long lost recordings from Berlin, early 1980s. From the KEHRSCHLIEFE estate:

''Kehrschleife' was Wolfgang Tilner-Barlow (1949 - 1984).

The Kehrschleife recordings originated from the Mauer park fleamarket in Berlin about 3 years ago, (bought by Allan Murphy of Midwich Youth Club, and cleaned up from the original cassettes by him), they appear to be back-ups of the original Kehrschleife studio master tapes. The tapes are labelled (in German) NDR TV/SFB TV/Radio Bremen themes and Idents and in each cassette case is an A4 sheet detailing the track title/recording date/intended broadcast recipient, with a Kehrschleife/Wolfgang Tilner-Barlow Logo letterhead.

According to the stall holder, the tapes were bought as part of a job lot of 1970's studio equipment from in the Uhlenhorst area, in the 1980's and passed on to him by a relative of the original job lot buyer. Little is known about Tilner-Barlow although the stall owner remembered the name 'Kehrschleife' as being a band from the late 70's Hamburg Neu Deutsche Welle scene. Murphy's research has turned up scant information such as Tilner-Barlow's name on the end credits of a few different 1970's German TV shows and a Rest in Peace notice at the end of an 'Arbeit Heute' show from 1984 on YouTube as well as the music appearing on a home video recording of Berlin in the 1970's (with apparently numbers stations recordings embedded)"

A fabulous 8 track EP, playing at 45rpm in Polytechnic Youth house bags and sure to fly out super quick. The label may revisit these tapes for a further EP later in the year.

Kuba Kapsa is a Polish pianist and composer being the leader of the avant-jazz combo Contemporary Noise Sextet (2006-2014). Beyond that he is a renowned composer for film and theater plays. His latest venture is the first of a sophisticated series of projects of modern classical music bearing the common title "Vantdraught".

The first part of the "Vantdraught" series was called "Vantdraught 10 · Vol. 1" and featured ten classical instruments - 4 violins, 2 violas, cello, vibraphone, marimba and piano. The now appearing second part is "Vantdraught 4", a quartet album written for violin, clarinet/bass clarinet, trombone and piano. The minimalistic style of Vantdraught 10 is preserved although the music is less repetitive and much more intimate. Instinct and intuition is the main force behind the writing process, usually avoiding typical chord progressions and the classical cadential technique. In contrast to "Vantdraught 10 · Vol. 1", the rhythm domain is also less important, thus allowing the melody and harmony to come to the fore. The pieces of "Vantdraught 4" are mainly tonal music but Kapsa also makes use of atonal and polytonal harmonies which requires the listener to put more effort into listening to these parts. The unusual set of instruments is what makes this quartet album unique and fresh sounding. "Vantdraught 4" is certainly linked to classical and minimal music in general but one can find other influences such as jazz and "new music".

Much like its predecessor, "Vantdraught 4" features an astonishing artwork based on "The Reluctant Conscript" by the seminal artist duo Kahn & Selesnick.

Harpist Mary Lattimore and guitar / synthesizer player Jeff Zeigler present their score to French director Philippe Garrel's 1968 silent film 'Le Révélateur'. The duo blend ancient classical traditions with modern improvisation and electronic performance. Lattimore and Zeigler's score powerfully conveys isolation, despair and awakening, amplifying sentiments portrayed in the film. Le révélateur - the processor of images - in the film is a small boy who is given voice through the rhythmic and inventive harp performance and through emotive melodica lines, eerie synth and guitar. Together, the duo create a soundscape that perfectly matches the film's progression as it follows the boy's journey from a family's dysfunctional home life into a godless post-apocalyptic landscape. The LP only release is pressed on virgin vinyl with a printed inner sleeve and free download card. (Initial copies pressed on white vinyl.) The album artwork features stills from the film (used with the permission of the director). The score has also been approved by Garrel. Lattimore and Zeigler have performed their score to 'Le Révélateur' in front of sold out crowds at Ballroom Marfa, Constellation Chicago and The Getty Museum in Los Angeles. They will continue to perform the score with the film throughout 2016 and 2017. Lattimore has recorded and performed previously with Kurt Vile, Thurston Moore, Meg Baird, Jarvis Cocker, Wrekmeister Harmonies, Steve Gunn and Sharon Van Etten. Zeigler has recorded albums by Kurt Vile, War On Drugs, Nothing and Purling Hiss and has played with members of Chris Forsyth's Solar Motel Band, War On Drugs and A Sunny Day In Glasgow in his group Arc In Round.

A musical foray deep inside the Noyzelab mainframe. Emotive, sample-heavy textures reflecting today's society with pertinent commentary on first world problems. Sometimes brutal, always captivating, David has built an album which evokes memories of honest labour, B&W films and heavy-duty woollen suits.

According to one reviewer of David's previous musical output he "gleefully disrupts just about every standard convention of musical form you could think of, including those of so-called experimental musics." Other reviewers have written that: "His music is a bizarre, yet compelling journey investigating the outer realms of music generated on ancient & contemporary machines." "It's strikingly original audio that doesn't really sound like anything else I can think of." "Utterly sublime. So there you go, a life-affirming slab of mind-altering sound to reawaken you to the terrifying possibilities of creation."

"absolutely wreaks havoc" wrote Keith Fullerton Whitman on reviewing David's T. H. Cycle cassette on Important Records/Cassauna.

Vakula has been a Dekmantel label member ever since the very early days. The Ukraine based producer now drops his album Cyclicality Between Procyon And Gomeisa on the label.
'This album is about cycles, repetition and interaction', says Vakula, whose Cyclicality between Procyon and Gomeisa is the third of a series of albums and reflects a dashing experimental record that evokes the endless and captivating potential of electronic music. It creates a mesmerizing journey through various music genres, exhibiting a singular sonic experience, whilst he works through a process of improvisation and refinement.
Once again the mastermind proves to be capable of creating complex, yet diverse musical pieces beyond genres and trends. The result: an audio adaptation of his fascinating mind. 'There are two parallel processes that come together in my work: me writing music and working on the sound I want to achieve, and the energy from outside that flows and transforms into thoughts, correlations, and actions.'
The track titles relate to the source of Vakula's inspiration and connect the dots between his obsession for the vastness of our universe and electronic music. ''To wonder about the universe and to dig into mythology and scientific research discovering at least some of its secrets is what keeps me endlessly motivated as a producer.''

* 150g vinyl in full colour, direct-to-board jacket with gloss varnish finish; designed by Joe Gilmore and Cameron Shafii

* US Import; Limited edition of 300 copies; contains one 1.8 locked grooves at conclusion of Side B

* CoH is a Russian sound artist, based in Sweden, whose works explore texture, atmosphere and tone. He has collaborated with Cosey Fanni Tutti, Coil, and Richard Chartier, among others.

* The final track on CoH's forthcoming Editions Mego release, Music VOL. is titled 'Return to Mechanics', connecting the two but this EP contains a set of bouncy, slouchy robotic grooves, full of tweeps and pneumatic, rubberised squelches that were too energetic to be contained on the Editions Mego title. Return to Mechanics also includes a reimagining of Donna Summer's classic track 'I Feel Love'.

* Digital version contains alternate versions of the vinyl tracks and remixes by Brandon Nickell and Cameron Shafii

* Each track on the EP is a free-time computer based composition; mastered and cut by Rashad Becker at D&M, Berlin

* Artist biography as written by Ge-stell: http://www.ge-stell.net/ge-stell-05

* Press / Promotion: In house campaign from Ge-stell. Premiered in The Wire and Resident Advisor