Beats News

Self release from the artist formerly known as Inga Copeland. Pop length songs, instrumentals & abstractions. To the point and powerful. Featuring a co-production with Actress. An excellent record that's swept us off our feet! Limited Copies... TIP!
"spill a tear and then you cry for ldn
is it the kinda place you'd die for
how does it feel to be lied to
but then again what's a girl to do"

Facta And K-Lone's Wisdom Teeth imprint delivers another split 12' of hybrid new school sounds: three individually stepping, swinging, subtly-tripping, dubbed-out, twisted, sub-low UK-rooted technoid mutations!

2nd release on the zyntax motorcity - imprint by Anokie. The Mini-LP includes six sci-fi-electrotracks on red wax. The stuff always set the stage for an epic story, yet remain accessible, fresh and funky, with an edgy experimental side. NO download - Vinyl ONLY - 200 copies!

Continuing the re-emergence of Bristol's Subtext label, former Vex'd artist Roly Porter presents his debut solo album 'Aftertime', which fuses his background in bleeding edge British sound system music with experimental compositional strategies and a forensic attention to detailed sound design. The results explore the terrain of an emerging industrial classical aesthetic, connecting new approaches to digital manipulation and processing with the instrumentation of chamber music in an immersive examination of texture and tonality. 'Aftertime' connects the dots between the legacy of dubstep and seminal jungle labels such as Metalheadz and Full Cycle whilst absorbing aspects of noise, drone and contemporary classical. Haunting angular assaults crafted across the eleven tracks create a logical post script to Porter's roots in Vex'd, the seminal dubstep project launched in 2004, that adopted the tropes of bass production and sonic detailing inherent in sound system culture and translated them into a highly atmospheric dark ambient progression. 'Aftertime' radiates a central narrative tension between themes of nature and technology, the ancient and modern, and the real and synthetic, revealing a compulsive cinematic netherworld, like a communiqué from an earth ravaged by science. The use of instrumentation, in particular the haunting tones of the Ondes Martenot (performed here by Cynthia Millar) reflects Porter's fascination with rare and dying technologies, the Martenot being playable by only a remaining handful of performers. Placing this rare instrument's eerie aesthetics alongside muscular sheets of noise and heavily machined tones, the album maps out a compositional territory that chronicles a dying sonic language whilst ushering in the dawning of the new. At the outer edges of this map, 'Aftertime' stands as a re-imagined present - an apparition of a mythologised past and an unreachable future.

"IN BLOOD" is the stunning 4th album from UK based multi instrumentalist, Sunset Graves. Following up 2015's acclaimed opus 'Love Pours Into Death', this brand new album goes deeper and darker with sonics for casual beat heads and intertwining textures to reward the deepest of repeat listens. This is Sunset Graves in widescreen, journeying through genres and landscapes, incorporating ambient, drum n' bass, glitchy rhythms, bass music, field recordings, sound design, tech house, chamber orchestra and even post rock.

3rd & Debut Records releases eclectic electronic music by Sunset Graves, the sample based Lo Grounds (as featured on Joris Voorns Fabric 83) and the more experimental soundscapes of tpique. IN BLOOD is our first full length vinyl release, presented on deep black virgin wax, black inner sleeve and a full colour insert.
Supported by Earmilk, Textura and The Formant.

'Mahler Remixed' was recorded live at Radiokulturhaus, Vienna in May 2011. This recording is mostly based on samples taken from Gustav Mahler's symphonies. The performance also includes an early version of 'liminality' from the 'becs' album, released in 2014 on Editions Mego. 'Mahler Remixed' was a commissioned work performed together with the visual artist Lillevan. The piece was only performed live three times, at Vienna Radiokulturhaus, Carnegie Hall, New York City and at The Istanbul Borusan Art Centre.

By popular demand, here's the vinyl reissue of the seminal album, recorded in 1977 by Crammed founder Marc Hollander with Congotronics producer Vincent Kenis, and originally released on Marc Moulin's ephemeral Kamikaze label

Third release on Working Nights. Six tracks of hazy downtempo machine music by Best Available Technology. Limited to 50 copies only.

Cavern Of Anti-Matter are the new band from Stereolab
mainman Tim Gane, now Berlin-based and collaborating with
original Stereolab drummer Joe Dilworth and synth wizard
Holger Zapf.
· This is their first album proper following a series of limited
edition vinyl releases.
· Features contributions from Bradford Cox (Deerhunter), Sonic
Boom (Spacemen 3) and Jan St. Werner (Mouse On Mars).

Cavern Of Anti-Matter are the new band from Stereolab
mainman Tim Gane, now Berlin-based and collaborating with
original Stereolab drummer Joe Dilworth and synth wizard
Holger Zapf.
· This is their first album proper following a series of limited
edition vinyl releases.
· Features contributions from Bradford Cox (Deerhunter), Sonic
Boom (Spacemen 3) and Jan St. Werner (Mouse On Mars).

Robin Storey otherwise known as Rapoon, and ex member and co-founder of legendary northern group Zoviet France, comes back in the frozen lands of Glacial Movements after his vision of an Europe covered by ice in "Time Frost" (2007). The English artist this time faces a theme recently discovered, and that could dramatically change the destiny of our planet. Evoking visions of mad scientists, French researchers are set to revive a mega-virus dormant for 30,000 years that they discovered in the permafrost of the Russian Arctic. The researchers, from the French National Center for Scientific Research, say they will take precautions to revive the specimen under safe laboratory conditions. They published a paper detailing their research in the journal the Proceedings of the National Academy of Sciences . The group of researchers is headed by Jean-Michel Claverie, who runs a laboratory at the French center. The French scientists, who awakened another Siberian virus, known as Pithovirus sibericum, in a petri dish in the lab in 2013, warn that climate change may awaken dangerous viruses in areas of the far north where soil or permafrost is melting and believe it is better to 'know the enemy'. They found it near the same area as the latest discovery, which they named Mollivirus sibericum .This is the fourth prehistoric virus found since 2003.

The Italian serves up 4 tracks of analogue Proto-Techno...

The style can be defined as techno of an esoteric nature with elements from 90's warehouse material mixed with VHS horror movie aesthetics. Moans, groans, whips and desire can be felt throughout the record with a lustful theme running throughout. Violet Poison's trademark post-punk aesthetic and industrialism are in fine form for 007 with shades of rhythmic noise, experimental dark ambient and power electronics...

In his energy-driven music and concerts, Switzerland based artist Bit-Tuner oscillates between Bass Music, Electronica and Techno, while he pulls his tracks together to become a gloomy, but euphoric bass monster.

Bit-Tuner stands for heavy beats, blown up bass sounds, vicious dreamscapes, acid-driven melodies and disarming harmonies. He has has collaborated with and/or remixed artists like Sole (Anticon), Sensational (WordSound/NYC), Oddateee (Deadverse Rec.), !Mediengruppe Bitnik, Filewile (Mouthwatering Rec.) or Bleubird (Florida). Live he has shared the stages with Acts like Kode 9, Jon Hopkins, Otto von Schirach, Ben Frost, Jimi Tenor, Modeselektor, Kelpe, Shackleton, Actress, The Haxan Cloak and Zomby. "A Bit of Light" is Bit-Tuner's fith studio album, following 2013/14's live albums "The China Syndrome" and "The Japan Syndrome", which were based on recordings made on previous tours through the countries. The collection of 16 tracks on "A Bit of Light" are sacral bass driven ceremonies out of Bit-Tuner's crypt. 16 tracks exploring the lighter side of darkness, deepness and hypnotic ritual endeavours.

Ryan Hunn (aka Illum Sphere) veröffentlicht mit "Second Sight" einen fantastischen düster-paranoiden Cold Wave Banger, der es in sich hat! Nach Releases auf Ninja Tune, Fat City und Young Turks, Remixen für Radiohead oder Martyn und seiner Manchesteraner Clubnacht Hoya:Hoya, die zu den angesagtesten Club Events in Europa zählt, meldet er sich mit zwei brandneuen Tracks auf Ninja Tune zurück! Killer!

L_ is the moniker of the Brazilian producer and sound artist Luis Fernando. Having released his debut album »Love Is Hell« in 2014 through the Berlin-based ANTIME imprint, he also received attention with a slew of remixes and contributed to several compilations, most notably »Hy Brazil Vol. 7« which was hand-selected by Chico Dub, one of the most important figures in the Brazilian electronic music scene. In 2015, ˆL_ embarked on a successful, two-week long Germany tour with his ANTIME label mate AAAA and released the more dancefloor-orientated EP »The Outsider«, also through ANTIME. Apart from his work as a producer, Fernando regularly hosts workshops on sound design with a focus on film and radio works. Fernando started making music as a young teenager, citing bands like My Bloody Valentine or Nine Inch Nails as inspiration for his first Shoegaze-leaning excursions in the music world. As he grew older, his taste varied and his own output became increasingly eclectic. Nowadays, ˆL_ works mostly digital and oscillates between film score-inspired sounds, acidic Techno, Noise and abstract electronic music. However heterogeneous ˆL_'s music might be in terms of stylistics, Fernando cunningly manages to weave all elements together into integrally closed narratives full of unforeseeable twists which follow a well thought out logic. The prolific Brasília-based producer furthermore creates continuity through his unmatched sensitivity when it comes to sampling. Fernando, who has researched and taught about the art of sampling, has built up an impressive archive and regularly immerses himself in his surroundings for field recordings. The result of his relentless pursuit.

Oliver Ho and Danny Passarella 'Multi EP'
A PROCESS IN 4 PARTS -
MALE FEMALE BACK FORTH Oliver Ho, producer of textural techno/noise music has collaborated with Danny Passarella, clothes designer and producer of cinematic synth explorations to create MULTI."Coming in four parts, it is an exploration of gender and growth, moving between the superficially binary genders, creating new identities through this process."

'Who's this guy What's he doing' So runs the opening line of Lamont's debut EP on Keysound Recordings - and well he might ask. After his first release in 2014 on Bristol's excellent Durkle Disco imprint - run by Keysound Sessions host Koast MC - Lamont focused on writing these four startling tracks for Keysound Recordings. And focused they are. The EP is a bold exercise in blatant contradictions. It's grimey but sonically spacious, house 'n' garage tempo but near zero-point energy, arresting but unexpectedly anthemic. Despite featuring two emerging grime MCs - Grim Sickers and Trim-affiliate Nico Lindsay - they are just as musically close to LV & Josh Idehen's '38 EP' on Keysound or the darkest Wen material as Trim's classic Soul Food mixtapes. The track 'In the Field ft Nico Lindsay' was debuted at Keysound Sessions by Lamont and was defacto signed before it had even run out. 'Death Slide', first played on Dusk + Blackdown's Rinse FM show, has become an unlikely anthem, with support from Kahn & Neek, Loefah, Parris and Riz La Teef.

Inspired by the lost lands between here and the heavens Lance
Neptune provides the soundtrack for hazy summer evenings with his debut release on Lone's Magicwire imprint.
Lance Neptune lets his music play the guide. A native of Glenardern, Maryland, his curiosity takes him into the realms of the unknown. Finding and building sounds from these unknown galaxies he conjures up musical vistas to transport us there.
Foot stomping percussions, warm pulsating pads, lush melodies and spatial chords hypnotize. This is the sort of music that floats you far away from reality, music that gives you the abilities to play around in the clouds. Having spent the last few years on hiatus Magicwire is back with its blend of lofi 90s nostalgia inspired by VHS skate tapes, and 'Animal Eclipse's ethereal experience is the perfect reintroduction.

Mr. Mitch's Gobstopper Records open their 2016 releases with Loom's aptly titled 'European Heartache' EP, set to be delivered in time for Valentine's. Self proclaiming his sound as "cold war grime", Daniel Timms aka Loom - according to Passion of the Weiss - "looks back to the square wave synths of the Eskimo era, but also the technology that shaped it: hissy cassette tapes, scratched up dub plates, dodgy pirate radio signals and early computer plugins". 'Grade', his debut EP for Gobstopper, was lauded by THUMP, Juno Plus, XLR8R, DJ Mag and The FADER. 'European Heartache' explores deeper into his spacious, romantic take on instrumental grime. "The core theme in my EP is a struggle with identity. What's my identity when society dictates how I should present myself because of my race, sex, religion, sexual preference. What's my identity, when the borders keep changing, when I've been displaced, fled my country because of war, what's my identity when my sex changes Do I even know my own identity, or am i just portraying what I think is expected of me" - Loom.

LING releases his debut EP on PAN & Visionist's CODES label.
'Attachment' is a data-centric collection built from field and browser recordings, loosely exploring the themes of habitual mental tendencies. 'The idea that taking an instinctual interpretation of information potentially warps and distorts reality. If data triggers internal responses, it risks following a predetermined path that can stray from reality.The heavily processed sample material re-explores recordings collected from over the last 4 years. Reconstructed within sound collages across the record, they strive to find an independent voice but at times back away in order to grapple something else. Merging explorative futurist sounds, Ling's glacial and at times glitchy constructions feature fleeting snippets of differing vocals or malfunctioning machines, whilst dipping into tentative, broken melodies. Loose references to UK culture and contemporary sounds are restructured, offering moments of something teasingly familiar before withdrawing into abstraction.The EP was made in summer 2015 in Liverpool, mixed by Chris Pawlusek, mastered by Matt Colton at Alchemy, and features artwork by PWR Studio & Bill Kouligas with additional art by James Whipple

Killer punkrockdub album from 1983 finally reissued via the consistent Light In The Attic label. HUGE tip!!
Political post-punk trio This Heat dissolved at a turbulent time in the UK. Margaret The Iron Lady' Thatcher was in power, and her budget-cutting, ultra-conservative influence was felt strongly in-among many other places-the cultural melting pot of Brixton, South London, where This Heat had their origins. Dusting himself off after the collapse of the band in 1982, guitarist/vocalist Charles Bullen united with Julius Samuel to form Lifetones and embraced the sounds of the local West Indian community to fuse reggae flavor to the kind of propulsive, rhythmic, and experimental music made by This Heat.

Deceit, This Heat's 1981 album, had seen them work with David Cunningham, who had already helped mesh dub reggae with new wave pop on The Flying Lizards' 1979 single, Money (That's What I Want Want).' Even so, For A Reason was a great leap, one that created a strange, unsettling mood as Bullen's multi-tracked, chant-like vocals met dub beats and Krautrock-informed repetition. Where Deceit dealt with the nuclear threat, For A Reason was less reactionary, even quoting Bob Marley in its lyrics: you love the life you live, you live the life you love.'

Just six tracks and half an hour long, the album was recorded at Cold Storage studio and released on Bullen's own Tone Of Life Records. It has become a sought-after collector's item that changes hands for hundreds of dollars a time. As a solo artist, Bullen was not prolific-it was 15 years until, in 1998, he released Internal Clock under the name Circadian Rhythms-but like the rest of his band, he has enjoyed a long, enriching career in unending pursuit of new sounds.

Even though This Heat had no commercial success to follow up on, For A Reason was an album created with no intention of hitting the charts. Reissued on Light In The Attic, Lifetones' single album retains a timeless quality and perhaps-on tracks such as Good Side'-a futuristic sound that nobody else ever caught up to.

Mikael Seifu's Zelalem is an ode to - and a fearless break from - the storied lineage of Ethiopian music. The literal Amharic translation of Zelalem is eternity,' and through Seifu's conceptual frame it becomes a vector of light.' Seifu shines this light on the music of his home country while guiding us through an uncharted Ethiopiyawi Electronic' - a coinage Seifu uses to describe the music he and his peers are producing in Ethiopia's capital city of Addis-Ababa.

Illuminating the rich sounds of Addis-Ababa's azmaris, Seifu's music becomes a dream brew' in which these traditional musicians collaborate and contribute vocals and lead voicings from folk instruments such as the Masenko and the Krar. Seifu was educated at the Lycée Guebre-Mariam in Addis-Ababa. The French academy's international group of students was Seifu's first exposure to a world outside Ethiopia, his second was at Ramapo College in suburban New Jersey.

Here Seifu met a mentor in Ben Neill, the composer and music technologist who trained with La Monte Young. Seifu was inspired by Neil to take serious his calling in music. A calling of a different, spiritual nature brought Mikael back to Ethiopia. As a repatriated young man in Addis-Ababa, Seifu felt a renewed sense of allegiance to his home country and allowed its ubiquitous music to guide his creations. Seifu's early work was shared across a string of EPs for stalwart Washington D.C. imprint 1432 R, demonstrating an interplay of regional folk music and international electronic music. Mikael's music does not westernize or electronicize extant Ethiopian music. Instead, Seifu uses Ethio-Jazz's spirit of brewing estranged styles for his own musical tincturing. Seifu's passion above all else is to create something befitting of its time, yet eternally Ethiopian.' The latter phrase was the mantra guiding Seifu through the creation of Zelalem, and a source of inspiration for the cover artwork. Zelalem spotlights the music of Ethiopia's past as well its future. Mikael Seifu illustrates the potential for reinterpreting sacred and proud sources through energized palettes. His latest effort heralds the future of this new music and signals the genesis of Ethiopian Electronic, where the known and unknown commune.

Rabit's unpredictable Halycon Veil imprint trigger a quartet of reticulated grime and noise mutations from London-based Anthoney J Hart a.k.a. Imaginary Forces,.And What locates Imaginary Forces at his most brutal, disciplined, continuing to draw on his British heritage with signals to the ghosts of '90s/'00s pirate radio on one hand, whilst signing to early electronic masters and literary references on the other - creating something new, visceral and more immediate than his previous releases in the process. Upfront, the swarming concrète jungle militancy of And What sets a scorched aesthetic steeling the body for Chat 'Bout's pavement-cracking hooves and atonal buzz, before cannily conflating the atmospheres of pirate radio and J.G. Ballard with the eviscerating intensity of High Rise.Down below, Make Ends Meet trades an instrumental grammar of glottal grime galvanised with glossolalic noise texture, and the Makes Ends Meet (London Something Version) whips those same elements into a strobing vortex of UK-style footwork rufige. This is Imaginary Forces' 5th 12' to date, following editions for his Sleep Codes label, Fang Bomb and Bedouin Records, plus a CD with Entr'acte between 2014-2015. It's scheduled for release around the same time as his mighty Basic Rhythm LP for Type Recordings.

This iconic experimental album is now available on CD after last year's (now very scarce) Blackest Ever Black vinyl re-issue. Comes in a crisp foam digipack alongside a full colour 8 page concertina insert featuring band photos and lyrics - essential

On the "Transmissions from Revarsavr" LP, Lumisokea continue their exploration of rhythm technology and electro-acoustic experiments while paying tribute to the pioneering spirit of the visionary inventors and composers from the early 20th century from the former Soviet Union. Linking the polyrhythmic ferocity of 'Apophenia' (Opal Tapes 2014) to the otherworldly acoustic biotope of 'Mnemosyne' (Alter 2015), 'Transmission from Revarsavr' presents a meticulously balanced aural web of spiralling polyrhythmic constructions, clashing and chiming copper plates, sub-zero bass shudders and glowing synths. Combining their fondness of electro-acoustic experimentalism with traditional rhythm science from southern India and Korea, Lumisokea create a music in which the pulsating rhythms wind and coil unto themselves like a snake biting its own tail while metallic clangs and howling drones float in and out of focus. The point of departure for 'Transmissions from Revarsavr' was a recording Lumisokea made in early 2014 of Vladimir Popov's 'Noise Instruments' - remarkable mechanical contraptions designed in the 1920's to imitate the sounds of the coming industrial era. Like the 'Noise Instruments', many of these initially outlandish and far-fetched sounds have imperceptibly become self-evident to present-day music, while pioneers such as Arseny Avraamov (aka Revarsavr) and Vladimir Popov have been largely forgotten. With these 'Noise Instruments' as a basis, Lumisokea craft the spiraling rhythm trips of 'Generation Z' and 'Nanissaanah', the eerie procession of 'Buk', the rapid-fire blasts of 'Hyman Otor', the spectral shimmering dub of 'Engrams' and the corroded percussion-mayhem of 'Uroboros'. The album has been mastered and cut by Rashad Becker at D&M, features artwork by Darren Brian Adcock and will be released on LP and digital formats by Opal Tapes on January 22nd 2016. The "Noise Machines" used in the recording are courtesy of The Music Laboratory (Moscow) and were recorded at the ReNoise exhibition in Berlin by Lumisokea. Lumisokea would like to give special thanks to Konstantin Dudakov-Kashuro, Peter Aido and Evgenia Vorobyeva for the permission to use and record the reproductions of Vladimir Popov's 'Noise Instruments

Death Waltz Originals are proud to unleash another slice of insanity with the score to the great unmade cannibalistic horror PSYCHIC SHIELD, conceptualised and performed by Slasher Film Festival Strategy. Inspired by European horror films of the 70s & 80s, SFFS literally make music for films that do not exist. Starting out in 1997, they've produced consistently stunning work, such as MUSIC FOR THE HEARING IMPAIRED, CRIMSON THRONE, and WET LEATHER, and have recently released a split single with fellow Death Waltz artist Antoni Maiovvi (LAW UNIT).

PSYCHIC SHIELD tells the story of a religious cult of flesh-eating witches who use their religion to lure unsuspecting victims to their gruesome deaths. The survivors of the cult use the Psychic Shield to protect them, as they battle to the death to make sure the cult and its members burns to the ground - forever. The score has a certain European flavour, presenting some beautifully colourful music (such as that of Messrs Ortolani and Frizzi) and juxtaposing it alongside some utterly creepy synth riffs. It's not afraid to be a slow burn, but when it goes off, you can feel the victims run like hell - or is it the witches, running from the Psychic Shield The only way to find out is to listen to PSYCHIC SHIELD.

Emotional Response returns to Dusseldorf with a compilation of the music emanating out of the Diskant label over some 7 EPs between 2009-2014. Featuring the productions of The Durian Brothers, Harmonious Thelonious and Don't DJ, their unique polyrhythmic percussive sound of the label is highlighted across this special double album.

Releasing this collection of works of the Diskant label is special as it was the discovery of Disk01 on the wall of Honest Jons store back in 2009 that was one of the prime influences in the creation of Emotional Response. Obscure, rhythmic music like no other was matched in striking artwork, presented on screen-printed sleeves that caught the imagination.

Since then a lot has become known about Dusseldorf's music scene. DJs, artists and labels like Musiccargo, Wolf Muller, Lena Wilikens, Tolouse Low-Trax, Themes From Great Cities, Vladimir Ivkovic, Kunstopf, B.A.R and more have all deservedly reached out beyond the original meeting and melting pot that is the Salon Des Amateurs to become names to watch.

With so much interest centered on this cultural hive, it is only right that the Diskant collective of musicians is now viewed and their music appraised for how ground breaking and influential it has been on the Cities unique musical perspective.

Born out of the early years of the Salon (check online for suitable live clips), the label was set up as a vehicle for the music and member's music of The Durian Brothers. Florian Meyer (Don't DJ), Stefan Schwander (Harmonious Thelonious) and Marc Matter. Coming together from their own music backgrounds to explore a new experimental polyrhythmic para-funk via distorted electronics. Using specially prepared turntables, hypnotic rhythmic patterns, noise and sequencing they have created a dense and fuzzy excess that over four sides of vinyl is here now presented as a retrospective, but not an end, to highlight their unique sound.

Italian arcade electro superstars Mat 101 are back with this LP of lost recordings from the vaults on Cyber Dance Records. Back in the late 90s when electro was first being resurrected and transformed into a more European dark psychedelic style Mat 101 were at the forefront of the revolution, taking inspiration from the pure electro sounds of the arcade games of their youth and representing the classic Italian sound in new and unexpectedly brilliant ways. Their legacy was immense, spawning Jollymusic, Pigna People, Raiders Of The Lost Arp and Francisco (among many other projects) and inspiring subsequent generations of electro wannabes with how to do it properly ever since. This LP brings together their lost recordings, some intended for a second LP that never was, along with live cuts and rarities as well as other unreleased material. However the album is in no way merely a random collection of lost bits and pieces - what is surprising is how fresh, finished and naturally flowing the record sounds, so much so that it really would have made a worthy follow up to their classic 1999 'Goodbye Mum!' first album. The breadth of sound on the records, from the gently hypnotising strains of 'Marble Madness' and the blissful climax of 'Gloria Gloria' to the intense electro jamming of 'Commando' and the progressive rave monster 'Toys Around', is truly stunning. And with dancefloor anthems like 'Falling Down Suite' and 'Musicadambiente' thrown into the mix too the release is essential ammunition for both DJ activists and armchair-listeners alike.

AIDAN BAKER (NADJA, B/B/S/) joins forces with IDKLANG aka MARKUS STEINKELLNER for two epic instrumentals, melting ambient, drone and krautrock into a psychedelic trip of pure beauty.

For years now AIDAN BAKER has proved himself one of the most productive and versatile artists when it's about postrock, drone or ambient. Since his beginnings in the early millennium, the guitarist has released numerous albums with his duo NADJA, CAUDAL, B/B/S/, solo and in various collaborations with artists like TIM HECKER, THISQUIETARMY or TROUM, documented on labels such as ALIEN8, IMPORTANT or MIASMAH. "In The Red Room" presents BAKER, currently living in Berlin, in a duo constellation with IDKLANG aka MARKUS STEINKELLNER (guitar), member of JAKUZI'S ATTEMPT and ARKTIS/AIR, who in the past has besides his own projects worked with ACID MOTHERS TEMPLE, AVA MENDOZA or EUGENE S. ROBINSON (OXBOW). With their guitars and effects the two create a gentle, yet uncanny ambience that unfolds in two epic pieces, each clocking in at around 20 minutes. As often with BAKER's music, "In The Red Room" transgresses genres and instead melts their diverse elements into one: ambient's detailed sound design is paired with drone's experimental guitar approach and krautrock's repetition for a psychedelic excursion of pure beauty.

HR011. Digitally saturated bass music with dark overtones and industrial-level aggression. First release by Milan-based producer Stefano K. Testa AKA Noumeno.

Limited edition of 100 tapes + insert, packed in silver plastic bags.

Whirling Hall of Knives is a collaboration between Trensmat founders Magnetize and The Last Sound.

Harsh smouldering circuits and eruptions of panicky white noise have a profoundly unsettling quality, a sense of gnawing paranoia but interspersed with moments of almost euphoric epiphany, as if in the grip of an unshakeable 4am psychosis a growing sense that the door will be kicked in at any second and the world outside will come pouring in. Psyche electronics of a particularly greasy and grime-flecked hue...

The remix comes courtesy of Downwards duo, Talker. The American duo of Karl Meier and Jon Krohn (a.k.a Stave) turn in a heavyweight version of 'Vacuulum' on the flip..

Red Vinyl +DL. POWER GLOVE are an Australian duo described from their bio as "two lawyers sent back from the streets of future, post apocalyptic Los Angeles 2043. With a touch of romance and a on of trouble, we're gonna get there...any way we can" and named after a 1980's 'Nintendo video game controller accessory'. The media and press have compared them to artists such as Kavinsky, College, John Carpenter and Daft Punk (primarily the TRON soundtrack). The mighty Power Glove make a speedy return to Invada after their EP I was released in April as part of Record Store Day. Much like 2014's Far Cry 3 soundtrack, this sold out instantly and was one of RSD's most sought after releases. Invada are proud to present Power Glove's 7 track follow up - 'EP II' This new record features the incredible 'Motorcycle Cop' and PG's remix of The Fauns' '4AM'

ToiToiToi* is the operating name of one Sebastian Counts, also based in Berlin - although this identity is uncertain too. All that we really know is that this is the musical side-project of a well- respected conceptual artist who is happy to be subsumed into the anonymity of Ghost Box's imaginary world.

Two witty, electronic diversions featuring squashy plasticine synthesizers, spectral voices of blurred origin, and haphazard percussion (likely to appeal to fans of Roj).

Lovely additions to the Other Voices series from an artist who's sure to be appearing on Ghost Box again soon.

* "Toi toi toi" as German speakers and opera fans will know, is a traditional wish of good luck, equivalent to "break a leg". Pronounced "toy- toy-toy".

Marching Church, formerly an outlet for the mostly solo musical experiments of Elias Bender Rønnenfelt (Iceage, Vår), metamorphosed into a full band during the sessions for a 2014 LP on Sacred Bones, This World Is Not Enough. The installation of a permanent supporting cast of collaborators did nothing to tame the project's wild spirit, and that record was an eclectic, eccentric mix of post-punk, improv, soul music, and more. With Coming Down: Sessions in April, Marching Church reaches even further afield, backing an intensely personal A-side with a fully instrumental 21-minute free jazz odyssey.

It's an excerpt from a two-hour long improv session,' Rønnenfelt said of the track. Which I guess was an attempt at playing jazz music, though no one involved had any experience playing jazz.'

Stunningly beautiful, poignant music from Bila¯d al-Sha¯m — 'the countries of Damascus', known nowadays as Syria, Lebanon and Palestine — including performances from the very first recording sessions in the region. The legendary, moody Beirut singer Bu¯lus Sulba¯n is here — some historians have him singing before Egypt's Pasha Ibra¯hi¯m Ba¯sha¯ during his military campaign in Syria, in 1841 — and Hasi¯ba Moshe¯h, Jewish 'nightingale of the Damascene gardens'. Thurayya¯ Qaddu¯ra from Jerusalem; Yu¯suf Ta¯j, a folk singer from Mount-Lebanon; Farjalla¯h Baida¯, cousin to the founders of Baidaphon Records... Musical directors like the lutist Qa¯sim Abu¯ Jami¯l al-Durzi¯ and the violinist Antu¯n al-Shawwa¯ (followed by his son Sa¯mi¯); such virtuosi as the qanun-players Nakhleh Ilya¯s al-Matarji¯ and Ya'qu¯b Ghaza¯la, and lutist Sali¯m 'Awad. Even at the time, notwithstanding such brilliance, public music-making was frowned upon as morally demeaning, especially for women. Musical venues were generally dodgy. Sulba¯n once cut short a wedding performance for the Beiruti posh, after just one song, he was so disgusted with his audience. 'If I had to tell you about the catcalls,' one commentator wrote about the musical theatre of the time, 'the stomping of feet, the sound of sticks hitting the ground, the noise of the water-pipes, the teeth cracking watermelon seeds and pistachio nuts, the screams of the waiters, and the clinking of arak glasses on the tables, I would need to go on and on and on...'